1,721,005 research outputs found
De l'image à l'ymage. Les revues d'Alfred Jarry et Remy de Gourmont
No full textPernoud Emmanuel. De l'image à l'ymage. Les revues d'Alfred Jarry et Remy de Gourmont. In: Revue de l'Art, 1997, n°115. pp. 59-65
Elizabeth Prelinger et Michael Parke-Taylo, The Symbolist Prints of Edvard Munch, The Vivian and David Campbell Collection. Toronto, Art Gallery of Ontario. New Haven et Londres, Yale University Press. 1996, 236 p., nb. ill. en coul. et n.et bl.
No full textPernoud Emmanuel. Elizabeth Prelinger et Michael Parke-Taylo, The Symbolist Prints of Edvard Munch, The Vivian and David Campbell Collection. Toronto, Art Gallery of Ontario. New Haven et Londres, Yale University Press. 1996, 236 p., nb. ill. en coul. et n.et bl.. In: Revue de l'Art, 1998, n°120. p. 112
The Work of the Ceramicist André Metthey (1871-1920) : the Art of Ceramics and the Ceramics of the Artist
No full textAprès une exposition au musée Galliera en 1909, André Metthey (1871-1920) connut un succès aussi bref que fulgurant. Ses créations en terre vernissée aux couleurs éclatantes furent acquises par des collectionneurs de renom. Célébré en tant qu’autodidacte exceptionnel, ce « nouveau Bernard Palissy » fut à la fois artisan et artiste. Aujourd’hui, l’œuvre personnel d’André Metthey est quelque peu masqué par sa participation à la « céramique fauve », collaboration à l’origine de la notion de « céramique d’artiste ». Autour de 1907, une vingtaine de peintres, dont André Derain, Henri Matisse, Georges Rouault et Maurice Denis, se rendirent à son atelier d’Asnières-sur-Seine pour décorer des pièces en faïence stannifère. Cette démarche, d’une ampleur inédite, traduit l’intérêt croissant des peintres pour les arts décoratifs, marquant un progressif et relatif effacement de la hiérarchie entre arts majeurs et arts mineurs. Étudier l’œuvre d’André Metthey et sa réception critique permet de retracer une période charnière au cours de laquelle émergèrent des personnalités de céramistes qui s’illustrèrent par des créations dissipant les frontières entre l’art, l’artisanat et parfois l’industrie.In 1909, after an exhibition at the Musée Galliera, André Metthey encountered a phenomenal success. Renowned collectors began to acquire his brightly colored creations in glazed earthenware. Celebrated as an exceptional self-taught ceramicist, this “new” Bernard Palissy was both a craftsman and an artist. Today, André Metthey’s personal work is somewhat overshadowed by his involvement in “Fauve ceramics”, a collaboration that gave rise to the notion of “artist’s ceramics.” From around 1907, André Derain, Henri Matisse, Georges Rouault, Maurice Denis and many other painters began coming to his studio in Asnières-sur-Seine to decorate pieces in stanniferous earthenware. This unprecedented approach reflects painters' growing interest in the decorative arts, as well as blurs the lines between the major and minor arts. A study of André Metthey's body of work and its critical reception allow us to trace a pivotal period during which different personalities emerged, distinguished by creations that encompassed art, craftsmanship and sometimes even industry
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
Aldo Crommelynck ( 1931 - 2008) : an etching printer between Paris and New York
No full textAldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la tailledouce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions.Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions
The visionary engraving, around Michel Random and the Gallery Michèle Broutta, from the 1970’s to the 2020’s : an artistic qualification to the test of “the grand narrative”
No full textAu milieu des années 1970, quelques jeunes graveurs, fidèles à l’image figurative et narrative, à contre- courant de la postmodernité, ont été qualifiés d’artistes « visionnaires ». On doit cette dénomination au critique Michel Random, qui la défendit avec la collaboration de la galerie Michèle Broutta. L’idée d’un art visionnaire, nouvellement établie dans le paysage artistique, a ainsi été le point de départ de ce travail de recherche. Il s’agissait d’en apprécier les manifestations et l’ampleur, sans céder à la tentation d’une reconstruction a posteriori. La démarche a emprunté des voies multiples : celle de l’enquête pour établir la chronologie des événements ; celle de l’entretien avec les artistes, galeristes et collectionneurs ; celle d’un balayage terminologique, afin de préciser l’archéologie de ce terme, précocement utilisé par Henri Focillon ; celle d’une réflexion méthodologique pour éclaircir le principe de la catégorisation et la façon dont s’écrit l’histoire de l’art ; enfin, celle de la recomposition de l’écologie de l’image visionnaire pour en distinguer les influences, les voisinages et les emprunts à la culture savante et populaire. Il en ressort un paysage disparate, une théorie profuse, un imaginaire éclectique, propice à des lectures multiples. À défaut de groupe ou de mouvement, il reste un « climat », avec une iconographie singulière, des marqueurs d’identité et des thèmes récurrents. Ainsi, en dépit de sa fragilité catégorielle, l’art visionnaire n’en possède pas moins quelques certitudes plastiques.In the middle of the 1970’s, several young engravers, faithful to the figurative and narrative image and against the flow of postmodernism, were qualified of ‘’ visionary artists”. This name is due to the critic Michel Random who defended it with the collaboration of the Michèle Broutta gallery. The idea of a visionary art, newly established in the artistic landscape, has thus been the starting point for this research work. The aim was to assess the manifestations and scale of it, without giving in to the temptation of an a posteriori reconstruction. The process took multiple paths: that of an investigation to establish the chronology of events; that of interviews with the artists, gallery owners and collectors; that of a terminological scanning, in order to define the word archeology, precociously used by Henri Focillon; that of a methodological reflection to clear up the principle of classification and the way art history is written; eventually, that of the recomposition of the ecology of the visionary image to distinguish its influences, neighbourhoods and borrowings from scientific and popular culture. What emerges is an heterogeneous landscape, a rich theory, an eclectic imaginary world, that favours multiple interpretations. For lack of group or movement, there is an “atmosphere”, with a unique iconography, identity markers and recurrent topics. Thus, despite its categorical fragility, visionary art nonetheless possesses plastic certainties
L'Aracine, from the association to the museum : a story of the collection of art brut (1982-2010)
No full textL’Aracine est une association loi de 1901 créée en 1982 à l’initiative de Madeleine Lommel en collaboration avec Michel Nedjar et Claire Teller dans le but de rassembler, de conserver et d’exposer une collection d’art brut publique en France. Conçue comme un hommage aux recherches de l’artiste Jean Dubuffet, cette collection – offerte en 1999 au musée d’Art moderne de Villeneuve-d’Ascq – constitue un rare essai de légitimation et de patrimonialisation de l’art brut. Cette thèse, histoire d’une association, d’une collecte et d’une collection, propose de revenir aux origines et aux développements de l’association L’Aracine, en mettant en lumière le rôle joué par des non-professionnels de l’art dans la constitution d’un patrimoine du XXe siècle.L’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
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
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
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