‎JORNOD (J.-P.).‎
‎Art‎

‎art m di val est-il contemporain ? Is Medieval Art Contemporary?‎

‎, Brepols, 2023 Hardback, 247 pages, Size:178 x 254 mm, Illustrations:5 b/w, 66 col., Language(s):English, French. ISBN 9782503599731.‎

‎Summary This publication brings together essays by scholars of both medieval and contemporary art, offering a cross-disciplinary approach of both periods. It investigates how contemporary artists and contemporary art historians perceive medieval art, and, reciprocally, how medieval art historians envisage the echoes of medieval artforms and esthetics in contemporary art. The volume follows on from the symposium organized in conjunction with the exhibition "Make it New: Carte Blanche Jan Dibbets" that was held at the Biblioth que Nationale de France (Paris) in 2019, and which presented side by side Hrabanus Maurus's De Laudibus Sanctae Crucis (In Praise of the Holy Cross), a masterpiece of Carolingian art, with works by artists associated with conceptual art, mininimal art, and land art. How and why has medieval art, and particularly early medieval art, inspired contemporary artists since the 1950s? What has medieval art contributed to contemporary art? How has medieval art's treatment of figures, color, space, geometry, and rhythm provided inspiration for contemporary artists' experiments with form? In what way does contemporary artists' engagement with the topics of formatting, writing, semiosis, mimesis, and ornamentation draw inspiration from medieval models? To what extent and in what sense are the notions of authorship and performativity relevant for understanding conceptions of artmaking in both periods? Rather than focusing on medievalism and citational practices, or on the theory of images?both approaches having already produced an important body of comparative readings of medieval and contemporary art?the essays in this volume address the question of medieval art's contemporaneity thematically, through three trans-chronological topics: authorship, semiosis and mathematics, and performance. Engaging the artists' works as well as their writings, these studies conflate conceptual and esthetic perspectives. TABLE OF CONTENTS Pr face Charlotte Deno l, Larisa Dryansky, Isabelle Marchesin et Erik Verhagen Partie 1. Introduction Au-del des p riodisations : Parcours pass s et futurs potentiels Nancy Thebaut Partie 2. Auctoritas/authorship Qui tait Jean Fouquet pour Fran ois Robertet ? Une question d'auctorialit dans l'art de la fin du Moyen ge Elliot Adam L'artiste conceptuel son pupitre Val rie Mavridorakis Art conceptuel et scolastique : le Ch ne de Michael Craig-Martin est-il thomiste ? Benjamin Riado Partie 3. Signe et math matiques ?All form is a process of notation?: Hrabanus Maurus's ?exemplativist? art Aden Kumler' Les nombres de la forme et les formes du nombre. Essai sur les carolingiens et l'abstraction. Isabelle Marchesin Abstraction in Medieval Art: The Chiasm in Hagia Sophia Bissera Pentcheva Hollis Frampton, m di val Larisa Dryansky Partie 4. Performance La conversion du pr cieux sang : Gina Pane et la mystique m di vale Janig B goc Automata, Kineticism, and Automation: An Oblique History of Animacy in the Art of the Long 1960s Roland Betancourt Coda Zoe Leonard's Suitcases Amy Knight Powell Liste des contributeurs‎

‎Art Brut en question. Outsider Art in Question (Collection Strates)‎

‎, [BE] CFC-Editions , 2015 Hardback, 280x220mm, 224p, 200 colour illustrations, English/French edition . ISBN 9782875720122.‎

‎Expo: Mons 2015, 20/6 - 6/9/2015, BAM, Mons A travers les contributions des directions des plus grandes collections d'Art Brut europeennes , cet ouvrage propose une approche historique et critique de l'Art Brut et 'outsider' ainsi qu'un large choix d'oeuvres emblematiques et originales. La premiere partie du livre, L'Art Brut hier et aujourd'hui retrace l'evolution du (ou des) 'sens' confere(s) au fil du temps aux creations issues des marges: de l'art asilaire defini par les psychiatres (1921-1980) -comme Walter Morgenthaler & Adolf Wolfli ou Hans Prinzhorn & Karl Brendel- a l'Art Brut, un terme du a Jean Dubuffet (des 1945) qui va bouleverser l'art du vingtieme siecle, jusqu'aux creations actuelles, dont la signification depasse la seule condition existentielle, mentale ou sociale, de leurs auteurs. S'y trouve aussi presente le 'schizometre' de Marco Decopeliada, remettant en question les criteres de classification des pathologies psychiatriques. Complementaire a cette retrospective revisitant les temps forts et les personnalites marquantes de l'Art Brut, le second volet du livre, Interaction, reunit les realisations issues d'un processus creatif participatif inedit: des artistes contemporains internationaux - Clea Coudsi & Eric Herbin, Lise Duclaux, Yves Lecomte, Mireille Lienard, Emilio Lopez-Menchero, Tinka Pittoors et Caroline Rottier - ont oeuvre en dialogue avec des residents d'une institution pour personnes handicapees mentales (Le Carrosse). Aux cotes de grands noms de l'Art Brut (Aloise Corbaz, Adolf Wolfli, Henri Darger, Willem Van Genk, Madge Gill, Andre Robillard, Raphael Lonne, Auguste Forestier, Gaston Chaissac.) et des decouvertes recentes faites en milieu institutionnel, des creations originales realisees de concert avec des artistes contemporains soulignent ainsi l'importance de la creation pour tous les protagonistes de l'Art Brut et 'outsider'. Avec contributions des directions des plus grandes collections d'Art Brut europeennes: Prinzhorn Sammlung, Heidelberg - LAM, Villeneuve d'Ascq - Hopital Sainte-Anne, Paris - Haus der Kunstler, Gugging - Museum Dr. Guislain, Gand - MADmusee, Liege - art & marges musee, Bruxelles This books deals with singular creations - produced by people who led or have led poignant lives, and which have resulted from innovative artistic dialogues. The first part, Outsider Art: Today and Yesterday, examines the meaning(s) that have over time been attributed to works created by people on the fringes of society : from asylum art, and how it is viewed by psychiatrists, to Art Brut - a notion invented by the artist Jean Dubuffet which revolutionised art in the twentieth century - and contemporary works, whose significance far outweighs the existential condition of their authors. With contributions from the managers of the largest collections of Art Brut in Europe. This art "on the margins of culture" has opened up wonderful worlds and has also sparked debates about the very meaning and purpose of art, both for the creator and the viewer. Associated with this retrospective review, which takes a look at the highlights and key figures of Art Brut, recent works emphasize the extent to which creative activity in psychiatric remains a living and vital reality. The second part of the book, Interaction, which is also complementary and avoids any attempt to categorise the work, covers works that have resulted from a unique participatory creative process : contemporary artists - Clea Coudsi & Eric Herbin, Lise Duclaux, Yves Lecomte, MIreille Lienard, Emilio Lopez-Menchero, Tinka Pittoors, and Caroline Rottier - produced works in collaboration with residents of Le Carrosse, an institution for people with mental disabilities. Including great names of Art Brut (Aloise Corbaz, Adolf Wolfli, Henri Darger, Willem Van Genk, Madge Gill, Andre Robillard, Raphael Lonne, Auguste Forestier and Gaston Chaissac) and recent discoveries made in psychiatric institutions. ‎

‎La Grammaire des Styles (3 Tomes - Complet) Tome I : L'Art égyptien - L'Art assyrien - L'art perse ; L'art byzantin ; L'art musulman ; L'art Indien - L'Art chinois - L'Art indo-chinois ; L'Art japonais ; Tome II : L'Art Grec et l'Art Romain. Le style pompéien ; L'art roman ; L'art gothique ; La Renaissance italienne ; La Renaissance Française ; Tome III : Le Style Louis XIII ; Le Style Louis XIV ; Le Style Louis XV ; Le Style Louis XVI ; Le Style Empire - Le Style Directoire.‎

‎3 vol. in-8 reliure demi-basane blonde, dos à 5 nerfs, Librairie d'Art R. Ducher, Paris, s.d. (circa 1924-1935), rappel des titres. Rappel des titres : La Grammaire des Styles (3 Tomes - Complet) Tome I : L'Art égyptien - L'Art assyrien - L'art perse ; L'art byzantin ; L'art musulman ; L'art Indien - L'Art chinois - L'Art indo-chinois ; L'Art japonais ; Tome II : L'Art Grec et l'Art Romain. Le style pompéien ; L'art roman ; L'art gothique ; La Renaissance italienne ; La Renaissance Française ; Tome III : Le Style Louis XIII ; Le Style Louis XIV ; Le Style Louis XV ; Le Style Louis XVI ; Le Style Empire - Le Style Directoire.‎

‎Bon ensemble (dos très lég. frotté, très bon état par ailleurs)‎

‎Nouvelle Histoire universelle de l'Art ‎

‎Marcel Aubert, né le 9 avril 1884 à Paris et mort le 28 décembre 1962 dans la même ville, est un historien de l'art et conservateur de musée français. 2 volumes complets,, brochés, 27x20cm, très bel état, illustrés. Préface d'Emile Male. TOME 1 : arts primitifs de l'Europe barbare , art de l'Asie antérieure , art égéen , art égyptien , art classique de la Méditerranée , art de la Perse ancienne , art des barbares , art chrétien d'Orient , art chrétien d'Occident , l'art roman , la sculpture romane , l'art gothique . 520 figures tirées en héliogravure . 380 Pages TOME 2 : la Renaissance , l'art du XVIIe siècle , l'art du XVIIIe s . l'art du XIXe s . l'art du XXe S . arts populaires de l'Europe , art de l'islam , art de l'Inde et de l'Asie centrale , art de l'Extreme-Orient , art des peuples primitifs de l'Afrique , de l'Amérique et de l'Océanie . 700 gravures dans le texte et 18 hors texte. 420 pages F. Didot Paris, 1932‎

‎Disrupting Schools: Transnational Art Education in the 19th Century‎

‎, Brepols, 2022 Hardback, 232 pages, Size:216 x 280 mm, Illustrations:24 b/w, 31 col., Language: English. ISBN 9782503570310.‎

‎Summary The category of the "national school", paramount for the emerging discipline of art history in the 19th century, tended to dismiss the crucial encounters, confrontations and exchanges prompted by the fact that artists commonly travelled abroad, especially for the purposes of education and training. The aim of this volume is to address the complexities of this under-researched phenomenon, shedding light on the motivations and impact of transnational art education on artists' careers, on the actors and educational institutions involved (e.g. state-run academies, private schools or studios, museums, outdoor practices) and on the growing international networks connecting artists, patrons, collectors, dealers, critics and scholars. Even though the nation was a major category for historical actors of the period, it is essential to question the validity of the national framework as an analytical tool for current scholarship: our aim is therefore to propose a new reading of 19th-century art worlds based on the idea of circulations, entanglements and revised geographies. In the 19th century the destinations and itineraries of art students were reshaped by changing artistic trends and reputations, as well as by larger economic and geopolitical transformations engendered by the formation of new nation states and the remapping of Empires. The more or less temporary expatriations and the experience of difference during the key-period of artistic training generated divergent individual responses to foreign artistic contexts. Their responses were formed amidst persistent tensions between the elaboration of ?national art? and the appeal to artistic values that crossed national boundaries. Examining both recurring patterns as well as individual examples, the contributors to the volume analyze career strategies that took advantage of resources labeled as "foreign" and explore the implications of an increasingly internationalized art market for the choices of aspiring artists. Beyond the emphasis on the circulation of people/actors, specific attention is given to the transfers of teaching methods, techniques and art theoretical discourses between artistic centers. Contributions also take into consideration the more or less precarious living conditions of art students abroad, their modes of socialization and group formations, the experience of the city and participation in artistic and intellectual circles. TABLE OF CONTENTS INTRODUCTION France Nerlich and Eleonora Vratskidou, Transnational Art Education, or How to Rethink the History of Nineteenth-Century Art SHARING KNOWLEDGE, TESTING METHODS: Susanne M ller-Bechtel, Academic Life Drawing in Rome in the Second Half of the Eighteenth Century: Shaping a Common Language Claudia Denk, Traduttore, The German Edition of Pierre-Henri de Valenciennes' Treatise for Travelling Landscape Painters St phanie Baumewerd, A German Spin-Off of French Studio Practice: Karl Wilhelm Wach and the 'New' Berlin School of Painting Arnika Groenewald-Schmidt, Nino Costa's Transnational Training in the Roman Campagna DIFFRACTED PARIS Foteini Vlachou, Moving While Sitting Still? Columbano Bordalo Pinheiro Anticipating Paris in Lisbon Gitta Ho, Caroline Pockels's 'Peaceful Campagne in Paris': A Braunschweig Portrait Artist in the French Capital, or The Merits of the Ordinary Galina Mardilovich, What Russian Printmakers Found in Paris Davy Depelchin, Inheriting Networks: Three Generations of Belgian Artists Abroad Mayken Jonkman, Planting Seeds in Paris: Foreign Pupils as Investment; The Art Dealer Adolphe Goupil and the Dutch Painter Frederik Hendrik Kaemmerer BEING HERE AND ELSEWHERE Elena Chestnova, Gottfried Semper: Teaching and Writing on the Move F bio D'Almeida, A Brazilian Defence of the Reform of the cole des Beaux-Arts in Paris (1863): Pedro Am rico's Manifesto Pamela A. Ivinski, An American (Not Only) in Paris: The Continental Training of Mary Cassatt, 1866-74 Emily C. Burns, National or Cosmopolitan? Cultural Politics and Artists' Clubs in Paris, 1890-1910 BIBLIOGRAPHY INDEX‎