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Le sculpteur Francesco Bordoni, collaborateur des Francini
No full textDer florentinische Bildhauer Francesco Bordini, der um 1601 im Gefolge seines Meisters Pierre de Franqueville nach Paris kam, war einer der wichtigsten Mitarbeiter Tommaso Francinis im Bereich des Schmuckbrunnenbaus in Frankreich. Der vorliegende Artikel behandelt die Ausbildung der zwei Männer in Florenz und ihre Kenntnis der großen toskanischen Gartenanlagen des ausgehenden 16. Jahrhunderts, in denen Skulpturen und Brunnen wesentliche Bedeutung zukam. Dann werden die ersten Schritte des Bildhauers am Hof Heinrichs IV. beleuchtet : schon bald arbeitete Bordoni mit Francini zusammen und scheint, außer den Vasen und Wasserkannen des großen Gartens von Fontainebleau, eine Anzahl Bronzefiguren für Brunnen und Grotten von Saint-Germain entworfen zu haben. Er scheint auch der Schöpfer von fünf Bronzemasken zu sein, die in Fontainebleau aufbewahrt werden (Brunnen im Cour du Cheval blanc und im Cour des Offices). Vor 1617 soll Bordini schließlich zusammen mit Francini für Léonora Galigaï an den Brunnen des Schlosses von Lésigny-en-Brie gearbeitet haben.Arriving in Paris around 1601 in the retinue of his master, the sculptor Pierre de Francqueville, the Florentine artist Francesco Bordoni was one of the main collaborators of Tommaso Francini in France in the making ornamental fountains. The article outlines the education of the two men in Florence and their knowledge of the great Tuscan gardens at the end of the 16th century in which sculptures and fountains already occupied a fundamental place. It then traces the first steps of the sculptor at the court of Henri IV. He works with Francini in the royal residences, and seems to have conceived not only the vases and ewers for the Grand Jardin at Fontainebleau, but also a certain number of bronze ornaments and figures for the fountains and the grottos at Saint-Germain. He also appears to be the author of five bronze masks that are still at Fontainebleau (the fountains of the Cour du Cheval bland and the Cour des Offices). Lastly, and before 1617, Bordoni would have worked for Leonora Galigaï, with Francini, on the fountains of the Chäteau de Lésigny-en-Brie.Arrivé à Paris vers 1601 à la suite de son maître, Pierre de Francqueville, le sculpteur florentin Francesco Bordoni fut l’un des principaux collaborateurs de Tommaso Francini en France pour la création de fontaines ornementales. L’article revient sur la formation des deux hommes à Florence et sur leur connaissance des grands jardins toscans de la fin du XVIe siècle dans lesquels sculptures et fontaines occupaient déjà une place fondamentale. Il retrace ensuite les premiers pas du sculpteur à la cour d’Henri IV : proche de Francini avec qui il travaille aussitôt dans les résidences royales, Bordoni semble avoir conçu, en plus des vases et des aiguières du Grand jardin de Fontainebleau, un certain nombre d’ornements de bronzes et de figures pour les fontaines et les grottes de Saint-Germain. Il semble aussi l’auteur de cinq masques de bronze qui sont encore conservés à Fontainebleau (fontaines de la Cour du Cheval blanc et de la Cour de Offices). Avant 1617, Bordoni aurait enfin travaillé pour Léonora Galigaï, avec Francini, aux fontaines du château de Lésigny-en-Brie.Cicali Giulia. Le sculpteur Francesco Bordoni, collaborateur des Francini. In: Bulletin Monumental, tome 175, n°4, année 2017. Hydraulique et fontaines ornementales en France. Autour de Tommaso Francini (1572-1651) pp. 357-367
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The sculptor Francesco Bordoni (1574?-1654) : from Giambologna's workshop to the French Court
No full textFrancesco Bordoni (1574?-1654), originaire de Florence, fut un sculpteur spécialiste du marbre et du bronze. Elève de Pietro Francavilla, il s’aguerrit à Florence dans la bottega de Giambologna, à l’époque de Ferdinand de Médicis, et il y participa aux chantiers du Grand-Duc, comme ceux occasionnés par son mariage (1589). Ensuite, il suivit Francavilla à Pise pour travailler aux chantiers de Ferdinand I. Vers 1601, il s’installa en France avec son maître. Cependant Francavilla revint bientôt à Florence, alors que Bordoni restait à Saint-Germain-en-Laye. Là, comme à Fontainebleau, il collabora avec le fontainier Tommaso Francini et fournit des sculptures pour les grottes et les fontaines des jardins, suivant le modèle de la villa de Pratolino. Plus tard il revint à Paris, où il travailla encore pour les souverains et les Concini. Il termina le piédestal de la statue équestre d’Henri IV (Pont-Neuf, Paris), commencée à Florence par Giambologna et Pietro Tacca. Il n’en subsiste que les quatre esclaves, signés par Bordoni (Musée du Louvre). Sa carrière continua sous le règne de Louis XIII. Dans les années 1630, il importa des marbres d’Italie et devint premier sculpteur du roi, il créa le sol en marbres et l’autel de la Chapelle de la Trinité de Fontainebleau avec les statues de Saint-Louis, de Charlemagne et quatre anges de bronze. Artiste profondément lié à la famille des Médicis et à la monarchie française, Bordoni participa aux stratégies de l’image voulues par ses grands clients. Cette thèse, fondée sur une large documentation d’archives, approfondit son œuvre dans ses rapports entre la sculpture italienne et française et dans son rôle avec Henri IV et ses successeurs.Francesco Bordoni was a Florentine sculptor, a specialist in bronze and one Pierre de Fracheville’s disciples. He grew up in Florence in the “bottega” of Giambologna during the period of Ferdinando de’ Medici. He attended the yards of the Grad-Duke such as the ones for Ferdinando’s weddings. Later he followed Francheville to Pisa where he worked at Fedrinando’s monuments. Before 1601 he moved to France with his master. Therefore Francheville soon returned to Florence whereas Bordoni remained in Saint-Germain-en-Laye. In Saint-Germain-en-Laye as well as in Fontainebleau, he collaborated with Tommaso Francini for the sculptures of grottoes and fountains of the gardens following the model of the villa of Pratolino. Later he went back to Paris where he worked again for the king and for the Concinis. He concluded the basement of the equestrian statue of Henri IV (Pont Neuf, Paris) which had been commenced in Florence by Giambologna and Pietro Tacca. The four slaves which adorned the basement, signed by Bordoni, are at Louvre Museum. His career went on during the period of Louis XIII. In the 30’s he imported some marbles from Italy, he became the first sculptor of the King, he created the floor in marble and the altar of the Chappelle of Fontainebleau. He was an artist deeply bound to the Médicis and to the French monarchy. Tanks to his works he shared in the strategies of the images wanted by his great Patrons. The aim of my study is the relation with the Italian and French sculpture and his role in the reorganization of the Kingdom of Henry IV and of his successors
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
La connaissance des grotte medicee
Get PDFLes archives produites par l’administration des Habsbourg-Lorraine en Toscane, après que cette Maison avait hérité en 1737 de l’ancien grand-duché des Médicis, ont longtemps été considérées comme des sources tardives et indirectes. Pourtant, elles révèlent la manière dont le patrimoine des Médicis a été géré par la nouvelle dynastie. En ce qui concerne la conservation (et la destruction) des sculptures, des fontaines et des grottes de jardins qui entouraient les villas médicéennes, ce sont tout particulièrement les archives conservées dans les fonds du Scrittoio Fortezze e Fabbriche et du Scrittoio Regie possessioni des Archives d’État de Florence qui méritent notre attention. Elles contiennent des actes relatifs à l’entretien et à la restauration des anciens domaines des Médicis aux xviiie et xixe siècles. Nous proposons ici une analyse de ce patrimoine dans son ensemble, en portant une attention particulière aux témoignages concernant les prestigieux jardins et notamment des grotte medicee.The archives produced by the Habsburg-Lorraine administration in Tuscany, after inheriting the former Grand Duchy of Medici in 1737, have long been considered late and indirect sources. However, they do reveal the way in which the Medici heritage was managed by the new dynasty. With regard to the conservation (and destruction) of the sculptures, fountains and garden grottoes that surrounded the Medici villas, it is particularly the archival records kept in the Scrittoio fortezze e fabbriche and the Scrittoio regie possessioni of the State Archives of Florence that deserve our attention. They contain acts relating to the maintenance and restoration of the ancient Medici estates in the 18th and 19th centuries. Here we offer an analysis of this heritage as a whole, with particular attention to the testimonies concerning the prestigious gardens and in particular the Medici grottoes
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
La committenza di Concino Concini: riflessioni e prospettive di ricerca
No full textInternational audienc
La committenza di Concino Concini: riflessioni e prospettive di ricerca
No full textInternational audienc
La committenza di Concino Concini: riflessioni e prospettive di ricerca
No full textInternational audienc
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