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  • Digital Humanities and Cultural Heritage
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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: Bartette, Titien; Rosso, Emmanuelle;

    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.

    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; In Situ...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/
    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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      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; In Situ...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/
      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 . 2019
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    Authors: Olson, Todd P.;

    Quatre publications récentes abordent les tensions fécondes nées du débat entre l’étude du langage et la question de la matérialité dans les études visuelles françaises sur le xviie siècle. Olivier Bonfait et Laurent Lahire examinent la réception critique de Nicolas Poussin. Leurs livres étudient la manière dont l’évaluation artistique, politique et économique de l’art était constitué par de multiples institutions et discours : entre autres artistiques, politiques et juridiques. Stéphane Castelluccio et Frédéric Cousinié s’intéressent à la culture matérielle sous des aspects divers : le premier, à l’élaboration des besoins humains dans les arts décoratifs à Versailles, le second à la relation entre les fluides corporels et la viscosité de la peinture à l’huile chez Philippe de Champaigne, Jacques Blanchard et Claude le Lorrain. Autant d’études qui ouvrent de nouvelles perspectives sur le Grand Siècle. Four recent publications address the productive tensions between the study of language and materiality in seventeenth-century French visual studies. Olivier Bonfait and Laurent Lahire consider the critical reception of Nicolas Poussin. Their books examine how the artistic, political and economic valuation of works of art was constituted by diverse institutions and discourses: artistic, political and legal among others. Stéphane Castelluccio and Frédéric Cousinié look at different aspects of material culture, whether the elaboration of human needs at Versailles in the decorative arts or the relationship between bodily fluids and the viscosity of oil paintings by Philippe de Champaigne, Jacques Blanchard and Claude le Lorrain. These studies suggest different perspectives on le Grand Siècle. Vier aktuelle Publikationen widmen sich den produktiven Spannungen, die aus der Debatte zwischen Sprachforschung und Materialgeschichte in den französischen bildwissenschaftlichen Studien zum 17. Jahrhundert hervorgegangen sind. Olivier Bonfait und Laurent Lahire nehmen die kritische Rezeption Nicolas Poussins in Augenschein. Ihre Bücher beleuchten den Einfluss der Institutionen und Diskurse, die zur künstlerischen, politischen und wirtschaftlichen Betrachtung der Kunst beigetragen haben. Ein Interesse an der materiellen Kultur zeigt sich bei Stéphane Castelluccio, der die Entwicklung menschlicher Bedürfnisse am Beispiel der angewandten Künste in Versailles untersucht, wie auch bei Frédéric Cousinié, der sich mit der Beziehung zwischen Körperflüssigkeiten und Viskosität in der Ölmalerei Philippe de Champaigne, Jacques Blanchards und Claude le Lorrains befasst. Jede dieser Studien eröffnet eine neue Sichtweise auf das Grand Siècle. Quattro pubblicazioni recenti affrontano le tensioni feconde nate dal dibattito tra lo studio del linguaggio e la questione della materialità negli studi visivi francesi sul xvii secolo. Olivier Bonfait e Laurent Lahire esaminano la ricezione critica di Nicolas Poussin. I loro libri studiano il modo in cui la valutazione critica, politica ed economica dell’arte era determinata da molteplici istituzioni e discorsi, tra i quali quelli artistici, politici e giuridici. Stéphane Castelluccio e Frédéric Cousinié s’interessano alla cultura materiale secondo diversi aspetti: il primo studia l’elaborazione dei bisogni umani nelle arti decorative a Versailles, il secondo s’interessa alla relazione tra i fluidi corporei e la viscosità della pittura ad olio in Philippe de Champaigne, Jacques Blanchard e Claude le Lorrain. Altrettanti studi aprono delle nuove prospettive sul Grand Siècle. Cuatro publicaciones recientes abordan las fecundas tensiones que surgieron en el debate entre el estudio del lenguaje y la cuestión de la materialidad en los estudios visuales franceses sobre el siglo xvii. Olivier Bonfait y Laurent Lahire examinan la recepción crítica de Nicolas Poussin. Sus libros estudian la manera en la que la evaluación artística, política y económica del arte fue constituida por múltiples instituciones y discursos: artísticos, políticos, jurídicos, entre otros. Stéphane Castelluccio y Frédéric Cousinié se interesan en la cultura material siguiendo aspectos diversos: el primero analiza la elaboración de las necesidades humanas en las artes decorativas de Versalles, el segundo estudia la relación entre los fluidos corporales y la viscosidad de la pintura al óleo en la obra de Philippe de Champaigne, Jacques Blanchard y Claude le Lorrain. Todos estos estudios abren nuevas perspectivas sobre el Gran Siglo.

    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
    Review . 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/ OpenEditionarrow_drop_down
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      OpenEdition
      Review . 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/
    Authors: Clothilde Roullier;

    Cet article a pour objectif de poser quelques jalons dans un champ de recherche encore très peu exploré : l’identification des sources archivistiques relatives aux décors des administrations étatiques, régionales, départementales et communales depuis 1945 jusqu’à nos jours. Dans la mesure où il n’y a pas de spécificité, du point de vue de l’action administrative, du décor dévolu à l’administration, les sources ne sont pas immédiatement données ni visibles. Il faut parvenir à dégager de la masse archivistique les dossiers concernant le sujet. Ce repérage s’effectue à partir du relevé des lieux d’installation des œuvres qui, pour certaines, ne sont d’ailleurs plus en place, qu’elles aient été déplacées ou, de façon plus regrettable, détruites. Au terme de cette recherche pionnière qui croise les sources entre les différents échelons de l’administration sur le territoire, il apparaît que les fonds conservés dans les services d’archives publiques pourraient permettre une étude de plus grande ampleur sur le sujet. À l’exploitation de ces sources produites par des personnes publiques, il conviendrait d’ajouter, lorsqu’ils sont répertoriés et accessibles, celle des fonds d’archives privés des artistes et des architectes. This article proposes a few lines of documentary research in a field that is practically unexplored: the identification of archival sources relating to works of art in state, regional, departmental and communal administrations from 1945 up to the present day. Since there is no specific administrative service charged with the decoration of these administration buildings, the sources are not easily identifiable or visible. Within large archival holdings it is necessary to identify the files of particular interest for the subject. This identification is based on a survey of the places where the works are installed, although some of them are no longer in place and some, sadly, have been destroyed. At the end of our preliminary research that analyses the sources at different levels of administration in the territory, it appears that the papers available in the public archive services could allow for a larger study on the subject. To these sources produced by public entities, and in the cases where they are catalogued and accessible, the private archives of artists and architects can be added.

    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; In Situ...arrow_drop_down
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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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      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; In Situ...arrow_drop_down
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      Article . 2018
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    Authors: Boucher, Thomas; Delage, Richard; Ferdière, Alain;

    Un fragment de moule à sigillée a été découvert en 2004 à Marcilly-sur-Vienne, à proximité de l’agglomération gallo-romaine, avec ateliers de potiers, de Nouâtre (Indre-et-Loire). Il correspond aux productions de sigillée du groupe dit du Centre-Ouest, sans doute du début du iie s. Des comparaisons stylistiques sont montrées avec les productions de sigillée du centre de la Gaule, et notamment des Martres-de-Veyre. A fragment of a mold for sigillata was discovered in 2004 in Marcilly-sur-Vienne, near the Gallo-Roman agglomeration, with workshops of potters, of Nouâtre (Indre-et-Loire). It corresponds to sigillata productions of the group called Centre-Ouest, probably from the beginning of the second century. Stylistic comparisons are shown with the sigillata productions of the center of Gaul, and in particular of Martres-de-Veyre.

    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/ Revue Archéologique ...arrow_drop_down
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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 . 2018
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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/ Revue Archéologique ...arrow_drop_down
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      DOAJ
      Article . 2018
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    Authors: Allavena, Stéphane;

    Héritier de l’un des services de la division des Beaux-Arts, des Sciences et des Spectacles créée en 1791 pour soutenir la création vivante, le Centre national des arts plastiques a entrepris depuis 1996 un récolement de l’ensemble des œuvres acquises et commandées par l’État depuis la Révolution française. L’opération entreprise à l’École nationale supérieure des beaux-arts (ENSBA), à Paris, a permis d’identifier l’attribution à cet établissement d’un lot de près de 15 000 pièces d’une exceptionnelle diversité, principalement destinées à enrichir le « musée des études » fondé officiellement le 17 septembre 1834, ainsi que les réserves de la bibliothèque, ouverte en 1863. À partir du dépouillement exhaustif des archives de l’administration des Beaux-Arts (Archives nationales, série F21) et de l’École nationale des beaux-arts (série AJ 52), les investigations conduites ont montré que la nature de ces dépôts était intimement liée aux évolutions pédagogiques et institutionnelles de l’École, comme l’illustrent la prédominance des maquettes et des moulages au cours de la période néoclassique, l’attribution de copies peintes sous le Second Empire, conséquence logique de la création des ateliers de peinture en 1863, ou encore le dépôt de nombreux dessins à caractère ornemental, destinés à accompagner, sous la Troisième République, la mise en place des nouveaux cours d’art décoratifs. The Centre national des Arts plastiques, the national centre for the plastic arts, is the heir to a service of fine arts, sciences and theatre first created in 1791 in order to support artistic creation. In 1996, the Centre undertook a retrospective inventory of all the works of art commissioned and purchased by the State since the French Revolution. The part of the inventory carried out at the École nationale supérieure des Beaux-Arts (ENSBA), the Paris fine arts school, permitted the identification of a remarkably diversified collection of about 15,000 items which were deposited at this school, intended principally for the ‘study museum’, officially founded on 17 September 1834, or the reserve collections of the library, opened in 1863. By a close examination of the archives left by the fine arts administration and by the administration of the school itself (series F 21 and AJ 52 at the national archives), we were able to show how these deposits were closely related to the pedagogical and institutional evolutions of the school. Illustrations of this conclusion are to be seen in the number of models and plaster casts given to the school during the neo-classical period, the number of copies of paintings during the Second Empire—the logical consequence of the creation of painting ateliers in 1863—or the number of ornamental drawings during the Third Republic, destined to accompany the new courses in the decorative arts.

    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; In Situ...arrow_drop_down
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    DOAJ
    Article . 2019
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      Article . 2019
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    Authors: Henrion, Fabrice;

    Au cours des deux dernières décennies, l’étude des sarcophages de pierre du haut Moyen Âge a pris un tournant particulier en ne considérant plus « l’objet » seulement pour son décor mais bien pour lui-même, révélant ainsi des caractères discriminants jusqu’alors trop souvent laissés de côté. Ainsi, en tenant compte de l’ensemble de son histoire, depuis la carrière d’où il provient jusqu’à la nécropole, au cimetière ou au lieu de culte qui finalement l’accueille, il est dorénavant possible d’inscrire n’importe quel exemplaire, entier ou fragmentaire, dans une typologie et une chronologie archéologiquement établies. Si le décor avait dû être mis de côté dans l’élaboration de la méthode de classification typologique et chronologique, on y revient naturellement, par le prisme des études antérieures et l’apport des données nouvelles. Over the last two decades, the study of Early Middle Ages stone sarcophagi has taken a particular turn: the “object” itself is now worthy of consideration, not only its decoration, thus revealing the distinguishing characteristics that were often that were previously too often left aside. Thus, by considering the whole of its history, from its quarry of origin to the necropolis, cemetery or place of worship that finally received it, it is now possible to place any specimen, whole or fragmentary, within an archaeologically established typology and chronology. While the decoration had to be put aside during the elaboration of the typological and chronological classification method, we naturally returned to it, through the prism of previous studies and the contribution of new data.

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    Authors: Girard, Laura;

    Entre 1925 et 1935, la municipalité socialiste engage à Toulouse la construction de nombreux équipements communaux : le parc des sports, la bibliothèque municipale, la bourse du travail, huit groupes scolaires, des bains-douches, des cités-jardins et immeubles HBM. L’architecte de la Ville, Jean Montariol, se voit confier la plupart de ces projets. Les décors (fresques, bas-relief, peintures), les ferronneries et le mobilier sont réalisés par des artistes toulousains, choisis spécifiquement par le conseil municipal. Ils sont issus de l’école toulousaine, écartant ainsi toute expression artistique extérieure. Ces édifices concrétisent les objectifs de la municipalité : progrès sociaux, élévation du niveau de vie et des connaissances intellectuelles des classes défavorisées, épanouissement du corps et de l’esprit. Caractéristique de l’Art déco, la collaboration entre architecte, artistes et artisans d’art entre en résonance avec la vocation sanitaire, hygiéniste et éducative des équipements. Elle est également empreinte de régionalisme par la mise en lumière d’un « art méridional » et d’une certaine identité locale. La lecture matérielle et sociale de ces collaborations entre architectes et artistes interroge les rapports entre architecture, art, technique et société, tant du point de vue historique, en renvoyant au moment de la conception du projet (composition, matériaux, acteurs, chantier), que du point de vue actuel, en posant la question du devenir des édifices (réception, maintien des dispositifs, reconnaissance de la valeur patrimoniale). Between 1925 and 1935, the socialist municipality in Toulouse undertook the construction of many municipal buildings: a sports park, a public library, a labour exchange, eight school groups, bath-houses, garden-cities and social housing. The architect of the city, Jean Montariol, was entrusted with the design of many of these projects. Decorative ensembles such as frescoes, carvings, paintings, ironwork and the furniture were made by Toulouse artists, selected by the local authorities. A Toulouse school emerged, independent of external artistic influences. The buildings are expressions of the municipality’s objectives of social progress, higher living standards and the intellectual education of underprivileged social classes, nurturing the body and the soul. Under the influence of Art Deco, the collaboration between architects and artists emerges here, through its ‘Meridional art’, as a modern expression of local identity. The social and material analysis of the collaboration between architects and artists draws into question the relationships between architecture, technical progress and society, both at the time when the designs were realised (composition, materials, actors, construction work) and today, in the future of the buildings (reception, preservation of drawings, recognition of heritage value).

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    Authors: Leblanc, Odile;

    Exhumées lors de deux interventions distinctes de sauvetage, les peintures ont été découvertes en place dans deux maisons mitoyennes. Sur les quatre décors du site du Garon, trois étaient conservés in situ. Les sept autres décors conservés sur les murs de la Maison aux Peintures forment un programme décoratif cohérent. Les vestiges, qui appartiennent à la phase d’urbanisme d’époque augustéenne connue sur le site, perdurent à la période tibérienne, comme le montrent les peintures. Ils sont détruits par l’installation du portique monumental daté par ailleurs du milieu du ier siècle ap. J. -C. Les peintures d’un troisième style précoce présentent les caractères de la peinture augustéenne : bandeau imitant des corniches de podium et candélabre sur fond monochrome. Les mortiers de celles de la Maison aux Peintures présentent des critères qui ne peuvent être antérieurs au début du ier siècle. Uncovered during two separate rescue excavations, the paintings were discovered in place on the walls of two neighbouring houses. Of the four paintings found on the Garon site, three had been conserved in situ. The seven paintings from the “Maison aux Peintures” form a coherent decorative ensemble. The vestiges, which belong to the Augustan phase of urbanisation noted on the site, survived until the Tiberian epoch, as the base mortars of the painted plaster testify. They were destroyed during the installation of the monumental portico, dated to the middle of the first century. An earlier wall painting decorated in Third Style is characteristic of the Augustan age, with a band imitating the cornices of podiums and candelabra on a monochrome ground. The characteristics of the mortars of the paintings in the “Maison aux Peintures” predate the beginning of the first century. Die Malereien wurden bei zwei unterschiedlichen Rettungsgrabungen in zwei Nachbarhäusern freigelegt. Von den vier Dekoren von Garon waren zwei in situ erhalten. An den Wänden des Maison aux Peintures waren sieben Dekore erhalten, die ein zusammenhängendes Repertoire bilden. Die Malereien zeigen, dass die Bauten der an diesem Fundort gut repräsentierten augusteischen Bauphase in tiberischer Zeit weiter bestehen. Sie werden anlässlich des Baus des monumentalen in die Mitte des 1. Jh. n. Chr. datierten Portikus zerstört. Die Malereien eines frühen dritten Stils zeichnen sich durch die charakteristischen Merkmale der augusteischen Wandmalerei aus : Die Gesimse eines Podiums nachahmendes Bandmuster und Kandelaber auf einfarbigem Grund. Die Mörtel der Malereien des Maison aux Peintures weisen Eigenschaften auf, die nicht vor den Anfang des 1. Jh. datiert werden können.

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    Authors: Solazzo, Rita;

    Dans un premier temps, nous aborderons diverses techniques de décoration utilisées sur les ceintures du nord de l’Italie pendant l’âge du Fer. Nous présenterons ensuite les particularités techniques décoratives de certains centres de production urbains comme Este et Golasecca, en identifiant les éléments qui les caractérisent. Nous verrons les associations des objets en contexte funéraire, entre les ceintures et les autres artefacts du dépôt d’Este, dans les tombes de Casa di Ricovero et Casa Benvenuti. À quel type de mobilier sont associées les ceintures dans les dépôts ? De quel type de tombe s’agit-il ? Masculine ou féminine ? Multiple ou individuelle ? Cette étude nous permet finalement d’interroger les pratiques funéraires d’Este. Peut-on parler d’objets fréquemment trouvés et récurrents ou sont-ils toujours nouveaux ? C’est à travers ces questions que nous traiterons le sujet d’étude dans cet article, sachant que c’est un thème très vaste et complexe et qu’il nécessite encore beaucoup de travail analytique. At first, the text deals with the decorative techniques found on the belts of northern Italy during the Iron Age. Secondly, it presents the decorative technical features of some urban centers such as Este, and Golasecca, identifying the elements that characterize them. One purpose was also to see the associations of objects found in context between belts and others of the deposit of Este, in the tombs of Casa di Ricovero and Casa Benvenuti. Do belts go with what in the stores? What kind of tomb is it? Male or female? Multiple or isolated? The study of this character leads us to discover what are the funeral practices of Este cemetary. Can we talk about frequently found objects or are they always new? These other issues will be addressed, as the topic is very broad and complex and still requires a lot of analytical work.

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    Authors: Zielinski, Caroline;

    Le site de Saint-Pierre-de-Nazac (Tarn-et-Garonne) a livré, parmi des vestiges antiques, trois ensembles d’enduits peints conservés dans des niveaux de remblais. Ils décoraient trois espaces distincts d’une villa fouillée entre 1985 et 1988 : le premier ensemble est rattaché à un plafond ; le second présente des revêtements de colonnes couverts de graffitis tandis que le troisième ensemble, une guirlande perlée, provient essentiellement d’une zone basse de paroi. Ils sont stylistiquement rattachés au début du ier siècle ap. J.-C., dans la tradition du troisième style pompéien. Among many ancient remnants discovered at the site of Saint-Pierre-de-Nazac (Tarn-et-Garonne) are three sets of painted plasters conserved in the fill. They decorated three separate spaces in a villa excavated between 1985 and 1988. The first set is from a ceiling ; the second has column coatings covered with graffiti ; and the third – a pearl garland – comes mostly from a low section of wall. Stylistically the three are typical of the early 1st century, and in the tradition of the Third Style in Pompeii. In Saint-Pierre-de-Nazac (Departement Tarn-et-Garonne) wurden unter den antiken Resten in Verfüllschichten drei Ensembles von Wandmalereien entdeckt. Sie schmückten drei unterschiedliche Raumbereiche einer zwischen 1985 und 1988 ausgegrabenen villa : das erste gehört zu einer Decke ; das zweite besteht aus dem mit Griffiti bedeckten Verputz von Säulen, und das dritte Ensemble, eine Perlengirlande, stammt vorwiegend von der Sockelzone einer Wand. Stilistisch sind sie an den Anfang des 1. Jh. n. Chr. einzuordnen, in die Tradition des dritten pompejanischen Stils.

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    Authors: Bartette, Titien; Rosso, Emmanuelle;

    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.

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      Article . 2019
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    Authors: Olson, Todd P.;

    Quatre publications récentes abordent les tensions fécondes nées du débat entre l’étude du langage et la question de la matérialité dans les études visuelles françaises sur le xviie siècle. Olivier Bonfait et Laurent Lahire examinent la réception critique de Nicolas Poussin. Leurs livres étudient la manière dont l’évaluation artistique, politique et économique de l’art était constitué par de multiples institutions et discours : entre autres artistiques, politiques et juridiques. Stéphane Castelluccio et Frédéric Cousinié s’intéressent à la culture matérielle sous des aspects divers : le premier, à l’élaboration des besoins humains dans les arts décoratifs à Versailles, le second à la relation entre les fluides corporels et la viscosité de la peinture à l’huile chez Philippe de Champaigne, Jacques Blanchard et Claude le Lorrain. Autant d’études qui ouvrent de nouvelles perspectives sur le Grand Siècle. Four recent publications address the productive tensions between the study of language and materiality in seventeenth-century French visual studies. Olivier Bonfait and Laurent Lahire consider the critical reception of Nicolas Poussin. Their books examine how the artistic, political and economic valuation of works of art was constituted by diverse institutions and discourses: artistic, political and legal among others. Stéphane Castelluccio and Frédéric Cousinié look at different aspects of material culture, whether the elaboration of human needs at Versailles in the decorative arts or the relationship between bodily fluids and the viscosity of oil paintings by Philippe de Champaigne, Jacques Blanchard and Claude le Lorrain. These studies suggest different perspectives on le Grand Siècle. Vier aktuelle Publikationen widmen sich den produktiven Spannungen, die aus der Debatte zwischen Sprachforschung und Materialgeschichte in den französischen bildwissenschaftlichen Studien zum 17. Jahrhundert hervorgegangen sind. Olivier Bonfait und Laurent Lahire nehmen die kritische Rezeption Nicolas Poussins in Augenschein. Ihre Bücher beleuchten den Einfluss der Institutionen und Diskurse, die zur künstlerischen, politischen und wirtschaftlichen Betrachtung der Kunst beigetragen haben. Ein Interesse an der materiellen Kultur zeigt sich bei Stéphane Castelluccio, der die Entwicklung menschlicher Bedürfnisse am Beispiel der angewandten Künste in Versailles untersucht, wie auch bei Frédéric Cousinié, der sich mit der Beziehung zwischen Körperflüssigkeiten und Viskosität in der Ölmalerei Philippe de Champaigne, Jacques Blanchards und Claude le Lorrains befasst. Jede dieser Studien eröffnet eine neue Sichtweise auf das Grand Siècle. Quattro pubblicazioni recenti affrontano le tensioni feconde nate dal dibattito tra lo studio del linguaggio e la questione della materialità negli studi visivi francesi sul xvii secolo. Olivier Bonfait e Laurent Lahire esaminano la ricezione critica di Nicolas Poussin. I loro libri studiano il modo in cui la valutazione critica, politica ed economica dell’arte era determinata da molteplici istituzioni e discorsi, tra i quali quelli artistici, politici e giuridici. Stéphane Castelluccio e Frédéric Cousinié s’interessano alla cultura materiale secondo diversi aspetti: il primo studia l’elaborazione dei bisogni umani nelle arti decorative a Versailles, il secondo s’interessa alla relazione tra i fluidi corporei e la viscosità della pittura ad olio in Philippe de Champaigne, Jacques Blanchard e Claude le Lorrain. Altrettanti studi aprono delle nuove prospettive sul Grand Siècle. Cuatro publicaciones recientes abordan las fecundas tensiones que surgieron en el debate entre el estudio del lenguaje y la cuestión de la materialidad en los estudios visuales franceses sobre el siglo xvii. Olivier Bonfait y Laurent Lahire examinan la recepción crítica de Nicolas Poussin. Sus libros estudian la manera en la que la evaluación artística, política y económica del arte fue constituida por múltiples instituciones y discursos: artísticos, políticos, jurídicos, entre otros. Stéphane Castelluccio y Frédéric Cousinié se interesan en la cultura material siguiendo aspectos diversos: el primero analiza la elaboración de las necesidades humanas en las artes decorativas de Versalles, el segundo estudia la relación entre los fluidos corporales y la viscosidad de la pintura al óleo en la obra de Philippe de Champaigne, Jacques Blanchard y Claude le Lorrain. Todos estos estudios abren nuevas perspectivas sobre el Gran Siglo.

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    Review . 2017
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      Review . 2017
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    Authors: Clothilde Roullier;

    Cet article a pour objectif de poser quelques jalons dans un champ de recherche encore très peu exploré : l’identification des sources archivistiques relatives aux décors des administrations étatiques, régionales, départementales et communales depuis 1945 jusqu’à nos jours. Dans la mesure où il n’y a pas de spécificité, du point de vue de l’action administrative, du décor dévolu à l’administration, les sources ne sont pas immédiatement données ni visibles. Il faut parvenir à dégager de la masse archivistique les dossiers concernant le sujet. Ce repérage s’effectue à partir du relevé des lieux d’installation des œuvres qui, pour certaines, ne sont d’ailleurs plus en place, qu’elles aient été déplacées ou, de façon plus regrettable, détruites. Au terme de cette recherche pionnière qui croise les sources entre les différents échelons de l’administration sur le territoire, il apparaît que les fonds conservés dans les services d’archives publiques pourraient permettre une étude de plus grande ampleur sur le sujet. À l’exploitation de ces sources produites par des personnes publiques, il conviendrait d’ajouter, lorsqu’ils sont répertoriés et accessibles, celle des fonds d’archives privés des artistes et des architectes. This article proposes a few lines of documentary research in a field that is practically unexplored: the identification of archival sources relating to works of art in state, regional, departmental and communal administrations from 1945 up to the present day. Since there is no specific administrative service charged with the decoration of these administration buildings, the sources are not easily identifiable or visible. Within large archival holdings it is necessary to identify the files of particular interest for the subject. This identification is based on a survey of the places where the works are installed, although some of them are no longer in place and some, sadly, have been destroyed. At the end of our preliminary research that analyses the sources at different levels of administration in the territory, it appears that the papers available in the public archive services could allow for a larger study on the subject. To these sources produced by public entities, and in the cases where they are catalogued and accessible, the private archives of artists and architects can be added.

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      DOAJ
      Article . 2018
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    Authors: Boucher, Thomas; Delage, Richard; Ferdière, Alain;

    Un fragment de moule à sigillée a été découvert en 2004 à Marcilly-sur-Vienne, à proximité de l’agglomération gallo-romaine, avec ateliers de potiers, de Nouâtre (Indre-et-Loire). Il correspond aux productions de sigillée du groupe dit du Centre-Ouest, sans doute du début du iie s. Des comparaisons stylistiques sont montrées avec les productions de sigillée du centre de la Gaule, et notamment des Martres-de-Veyre. A fragment of a mold for sigillata was discovered in 2004 in Marcilly-sur-Vienne, near the Gallo-Roman agglomeration, with workshops of potters, of Nouâtre (Indre-et-Loire). It corresponds to sigillata productions of the group called Centre-Ouest, probably from the beginning of the second century. Stylistic comparisons are shown with the sigillata productions of the center of Gaul, and in particular of Martres-de-Veyre.

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      Article . 2018
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    Authors: Allavena, Stéphane;

    Héritier de l’un des services de la division des Beaux-Arts, des Sciences et des Spectacles créée en 1791 pour soutenir la création vivante, le Centre national des arts plastiques a entrepris depuis 1996 un récolement de l’ensemble des œuvres acquises et commandées par l’État depuis la Révolution française. L’opération entreprise à l’École nationale supérieure des beaux-arts (ENSBA), à Paris, a permis d’identifier l’attribution à cet établissement d’un lot de près de 15 000 pièces d’une exceptionnelle diversité, principalement destinées à enrichir le « musée des études » fondé officiellement le 17 septembre 1834, ainsi que les réserves de la bibliothèque, ouverte en 1863. À partir du dépouillement exhaustif des archives de l’administration des Beaux-Arts (Archives nationales, série F21) et de l’École nationale des beaux-arts (série AJ 52), les investigations conduites ont montré que la nature de ces dépôts était intimement liée aux évolutions pédagogiques et institutionnelles de l’École, comme l’illustrent la prédominance des maquettes et des moulages au cours de la période néoclassique, l’attribution de copies peintes sous le Second Empire, conséquence logique de la création des ateliers de peinture en 1863, ou encore le dépôt de nombreux dessins à caractère ornemental, destinés à accompagner, sous la Troisième République, la mise en place des nouveaux cours d’art décoratifs. The Centre national des Arts plastiques, the national centre for the plastic arts, is the heir to a service of fine arts, sciences and theatre first created in 1791 in order to support artistic creation. In 1996, the Centre undertook a retrospective inventory of all the works of art commissioned and purchased by the State since the French Revolution. The part of the inventory carried out at the École nationale supérieure des Beaux-Arts (ENSBA), the Paris fine arts school, permitted the identification of a remarkably diversified collection of about 15,000 items which were deposited at this school, intended principally for the ‘study museum’, officially founded on 17 September 1834, or the reserve collections of the library, opened in 1863. By a close examination of the archives left by the fine arts administration and by the administration of the school itself (series F 21 and AJ 52 at the national archives), we were able to show how these deposits were closely related to the pedagogical and institutional evolutions of the school. Illustrations of this conclusion are to be seen in the number of models and plaster casts given to the school during the neo-classical period, the number of copies of paintings during the Second Empire—the logical consequence of the creation of painting ateliers in 1863—or the number of ornamental drawings during the Third Republic, destined to accompany the new courses in the decorative arts.

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      Article . 2019
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    Authors: Henrion, Fabrice;

    Au cours des deux dernières décennies, l’étude des sarcophages de pierre du haut Moyen Âge a pris un tournant particulier en ne considérant plus « l’objet » seulement pour son décor mais bien pour lui-même, révélant ainsi des caractères discriminants jusqu’alors trop souvent laissés de côté. Ainsi, en tenant compte de l’ensemble de son histoire, depuis la carrière d’où il provient jusqu’à la nécropole, au cimetière ou au lieu de culte qui finalement l’accueille, il est dorénavant possible d’inscrire n’importe quel exemplaire, entier ou fragmentaire, dans une typologie et une chronologie archéologiquement établies. Si le décor avait dû être mis de côté dans l’élaboration de la méthode de classification typologique et chronologique, on y revient naturellement, par le prisme des études antérieures et l’apport des données nouvelles. Over the last two decades, the study of Early Middle Ages stone sarcophagi has taken a particular turn: the “object” itself is now worthy of consideration, not only its decoration, thus revealing the distinguishing characteristics that were often that were previously too often left aside. Thus, by considering the whole of its history, from its quarry of origin to the necropolis, cemetery or place of worship that finally received it, it is now possible to place any specimen, whole or fragmentary, within an archaeologically established typology and chronology. While the decoration had to be put aside during the elaboration of the typological and chronological classification method, we naturally returned to it, through the prism of previous studies and the contribution of new data.

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      Article . 2021
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    Authors: Girard, Laura;

    Entre 1925 et 1935, la municipalité socialiste engage à Toulouse la construction de nombreux équipements communaux : le parc des sports, la bibliothèque municipale, la bourse du travail, huit groupes scolaires, des bains-douches, des cités-jardins et immeubles HBM. L’architecte de la Ville, Jean Montariol, se voit confier la plupart de ces projets. Les décors (fresques, bas-relief, peintures), les ferronneries et le mobilier sont réalisés par des artistes toulousains, choisis spécifiquement par le conseil municipal. Ils sont issus de l’école toulousaine, écartant ainsi toute expression artistique extérieure. Ces édifices concrétisent les objectifs de la municipalité : progrès sociaux, élévation du niveau de vie et des connaissances intellectuelles des classes défavorisées, épanouissement du corps et de l’esprit. Caractéristique de l’Art déco, la collaboration entre architecte, artistes et artisans d’art entre en résonance avec la vocation sanitaire, hygiéniste et éducative des équipements. Elle est également empreinte de régionalisme par la mise en lumière d’un « art méridional » et d’une certaine identité locale. La lecture matérielle et sociale de ces collaborations entre architectes et artistes interroge les rapports entre architecture, art, technique et société, tant du point de vue historique, en renvoyant au moment de la conception du projet (composition, matériaux, acteurs, chantier), que du point de vue actuel, en posant la question du devenir des édifices (réception, maintien des dispositifs, reconnaissance de la valeur patrimoniale). Between 1925 and 1935, the socialist municipality in Toulouse undertook the construction of many municipal buildings: a sports park, a public library, a labour exchange, eight school groups, bath-houses, garden-cities and social housing. The architect of the city, Jean Montariol, was entrusted with the design of many of these projects. Decorative ensembles such as frescoes, carvings, paintings, ironwork and the furniture were made by Toulouse artists, selected by the local authorities. A Toulouse school emerged, independent of external artistic influences. The buildings are expressions of the municipality’s objectives of social progress, higher living standards and the intellectual education of underprivileged social classes, nurturing the body and the soul. Under the influence of Art Deco, the collaboration between architects and artists emerges here, through its ‘Meridional art’, as a modern expression of local identity. The social and material analysis of the collaboration between architects and artists draws into question the relationships between architecture, technical progress and society, both at the time when the designs were realised (composition, materials, actors, construction work) and today, in the future of the buildings (reception, preservation of drawings, recognition of heritage value).

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    DOAJ
    Article . 2017
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    OpenEdition
    Article . 2017
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      Article . 2017
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      Article . 2017
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    Authors: Leblanc, Odile;

    Exhumées lors de deux interventions distinctes de sauvetage, les peintures ont été découvertes en place dans deux maisons mitoyennes. Sur les quatre décors du site du Garon, trois étaient conservés in situ. Les sept autres décors conservés sur les murs de la Maison aux Peintures forment un programme décoratif cohérent. Les vestiges, qui appartiennent à la phase d’urbanisme d’époque augustéenne connue sur le site, perdurent à la période tibérienne, comme le montrent les peintures. Ils sont détruits par l’installation du portique monumental daté par ailleurs du milieu du ier siècle ap. J. -C. Les peintures d’un troisième style précoce présentent les caractères de la peinture augustéenne : bandeau imitant des corniches de podium et candélabre sur fond monochrome. Les mortiers de celles de la Maison aux Peintures présentent des critères qui ne peuvent être antérieurs au début du ier siècle. Uncovered during two separate rescue excavations, the paintings were discovered in place on the walls of two neighbouring houses. Of the four paintings found on the Garon site, three had been conserved in situ. The seven paintings from the “Maison aux Peintures” form a coherent decorative ensemble. The vestiges, which belong to the Augustan phase of urbanisation noted on the site, survived until the Tiberian epoch, as the base mortars of the painted plaster testify. They were destroyed during the installation of the monumental portico, dated to the middle of the first century. An earlier wall painting decorated in Third Style is characteristic of the Augustan age, with a band imitating the cornices of podiums and candelabra on a monochrome ground. The characteristics of the mortars of the paintings in the “Maison aux Peintures” predate the beginning of the first century. Die Malereien wurden bei zwei unterschiedlichen Rettungsgrabungen in zwei Nachbarhäusern freigelegt. Von den vier Dekoren von Garon waren zwei in situ erhalten. An den Wänden des Maison aux Peintures waren sieben Dekore erhalten, die ein zusammenhängendes Repertoire bilden. Die Malereien zeigen, dass die Bauten der an diesem Fundort gut repräsentierten augusteischen Bauphase in tiberischer Zeit weiter bestehen. Sie werden anlässlich des Baus des monumentalen in die Mitte des 1. Jh. n. Chr. datierten Portikus zerstört. Die Malereien eines frühen dritten Stils zeichnen sich durch die charakteristischen Merkmale der augusteischen Wandmalerei aus : Die Gesimse eines Podiums nachahmendes Bandmuster und Kandelaber auf einfarbigem Grund. Die Mörtel der Malereien des Maison aux Peintures weisen Eigenschaften auf, die nicht vor den Anfang des 1. Jh. datiert werden können.

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    OpenEdition
    Book . 2020
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      Book . 2020
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    Authors: Solazzo, Rita;

    Dans un premier temps, nous aborderons diverses techniques de décoration utilisées sur les ceintures du nord de l’Italie pendant l’âge du Fer. Nous présenterons ensuite les particularités techniques décoratives de certains centres de production urbains comme Este et Golasecca, en identifiant les éléments qui les caractérisent. Nous verrons les associations des objets en contexte funéraire, entre les ceintures et les autres artefacts du dépôt d’Este, dans les tombes de Casa di Ricovero et Casa Benvenuti. À quel type de mobilier sont associées les ceintures dans les dépôts ? De quel type de tombe s’agit-il ? Masculine ou féminine ? Multiple ou individuelle ? Cette étude nous permet finalement d’interroger les pratiques funéraires d’Este. Peut-on parler d’objets fréquemment trouvés et récurrents ou sont-ils toujours nouveaux ? C’est à travers ces questions que nous traiterons le sujet d’étude dans cet article, sachant que c’est un thème très vaste et complexe et qu’il nécessite encore beaucoup de travail analytique. At first, the text deals with the decorative techniques found on the belts of northern Italy during the Iron Age. Secondly, it presents the decorative technical features of some urban centers such as Este, and Golasecca, identifying the elements that characterize them. One purpose was also to see the associations of objects found in context between belts and others of the deposit of Este, in the tombs of Casa di Ricovero and Casa Benvenuti. Do belts go with what in the stores? What kind of tomb is it? Male or female? Multiple or isolated? The study of this character leads us to discover what are the funeral practices of Este cemetary. Can we talk about frequently found objects or are they always new? These other issues will be addressed, as the topic is very broad and complex and still requires a lot of analytical work.

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    Book . 2021
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      Book . 2021
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    Authors: Zielinski, Caroline;

    Le site de Saint-Pierre-de-Nazac (Tarn-et-Garonne) a livré, parmi des vestiges antiques, trois ensembles d’enduits peints conservés dans des niveaux de remblais. Ils décoraient trois espaces distincts d’une villa fouillée entre 1985 et 1988 : le premier ensemble est rattaché à un plafond ; le second présente des revêtements de colonnes couverts de graffitis tandis que le troisième ensemble, une guirlande perlée, provient essentiellement d’une zone basse de paroi. Ils sont stylistiquement rattachés au début du ier siècle ap. J.-C., dans la tradition du troisième style pompéien. Among many ancient remnants discovered at the site of Saint-Pierre-de-Nazac (Tarn-et-Garonne) are three sets of painted plasters conserved in the fill. They decorated three separate spaces in a villa excavated between 1985 and 1988. The first set is from a ceiling ; the second has column coatings covered with graffiti ; and the third – a pearl garland – comes mostly from a low section of wall. Stylistically the three are typical of the early 1st century, and in the tradition of the Third Style in Pompeii. In Saint-Pierre-de-Nazac (Departement Tarn-et-Garonne) wurden unter den antiken Resten in Verfüllschichten drei Ensembles von Wandmalereien entdeckt. Sie schmückten drei unterschiedliche Raumbereiche einer zwischen 1985 und 1988 ausgegrabenen villa : das erste gehört zu einer Decke ; das zweite besteht aus dem mit Griffiti bedeckten Verputz von Säulen, und das dritte Ensemble, eine Perlengirlande, stammt vorwiegend von der Sockelzone einer Wand. Stilistisch sind sie an den Anfang des 1. Jh. n. Chr. einzuordnen, in die Tradition des dritten pompejanischen Stils.

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    Book . 2020
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      Book . 2020
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