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Journal articles on the topic 'Academie des beaux-arts, Paris'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Klingsohr, Cathrin. "Die Kunstsammlung der "Academie Royale de Peinture et de Sculpture" in Paris." Zeitschrift für Kunstgeschichte 49, no. 4 (1986): 556. http://dx.doi.org/10.2307/1482376.

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2

Gilabert Sanz, Salvador, and Ignacio Cabodevilla-Artieda. "Conversando con... Jean Nouvel." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (September 29, 2016): 16. http://dx.doi.org/10.4995/ega.2016.6306.

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<p>Jean Nouvel obtuvo el Premio Pritzker de arquitectura en 2008, un reconocimiento a su trayectoria como arquitecto, dentro del grupo de los que podríamos denominar Star Arquitects. En el año 1966 consiguió la primera plaza en el examen de acceso para asistir a la escuela de Bellas Artes, École de Beaux-Arts, en Paris donde se licenció en arquitectura en 1972. Ya antes de acabar sus estudios colaboraba con Claude Parent, y alentado por las inclinaciones antisistema de su mentor y las lecturas de los textos y ensayos del urbanista Paul Virilio, fue forjando su propio pensamiento crítico. Esta manera personal de ver las cosas le llevó a ser uno de los miembros fundadores del Movimiento Mars 1976, cuyo objetivo era oponerse al corporativismo de los arquitectos, siendo posteriormente uno de los fundadores del Sindicato de la Arquitectura. Sus firmes posiciones y opiniones, un tanto provocativas, sobre la arquitectura contemporánea en el contexto urbano, junto con su manera de reinventarse a sí mismo en los proyectos que ha emprendido han forjado su imagen internacional. Sus obras han obtenido el reconocimiento en todo el mundo a través de numerosos premios, franceses e internacionales, de gran prestigio. En 1989, el Instituto del Mundo Árabe de París fue galardonado con el Premio Aga-Khan, por su papel como “un puente exitoso entre las culturas francesa y árabes”. En 2000, Jean Nouvel recibió el León de Oro de la Bienal de Venecia, y en 2001, tres de los más importantes premios internacionales: la Real Medalla de Oro del Instituto Real de Arquitectos Británicos (RIBA), el Premium Imperial de la Asociación de Bellas Artes de Japón y el Premio Borromini por el Centro de Cultura y Congresos en Lucerna. Fue nombrado Doctor Honoris Causa por el Royal College of Art de Londres en 2002. Tres años más tarde, recibió el premio anual de la Fundación Wolf en Israel “por proporcionar un nuevo modelo de contextualismo y la redefinición de la dialéctica entre las dos características más destacadas de la arquitectura contemporánea: concreción y efímero”. La Torre Agbar de Barcelona recibió el Premio Internacional Highrise 2006, “ya que hace una contribución excepcional al debate actual sobre los rascacielos”. En 2008 recibió el ya nombrado Pritzker Prize, y en Francia, ha sido galardonado con numerosos premios incluyendo la Medalla de Oro de la Academia Francesa de Arquitectura, dos Equerres d’Argent y el Gran Premio Nacional de Arquitectura.</p>
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3

Alves, Fabiola Cristina. "As mulheres na École Nationale Supérieure des Beaux Arts de Paris: os regulamentos de 1892 a 1937 e suas alterações decorrentes da presença das alunas-mulheres." Revista de História e Historiografia da Educação 1, no. 1 (January 1, 2017): 26. http://dx.doi.org/10.5380/rhhe.v1i1.48052.

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Este artigo analisa os regulamentos da École Nationale Supérieure des Beaux-Arts de Paris, entre o período de 1892 a 1937, com o objetivo de discutir a inclusão da candidatura das mulheres para a formação nessa instituição. Apresenta as alterações adotadas nos usos dos ateliês para a recepção das alunas-mulheres e normativa específica para a permanência de alunas-mães.The women at the École Nationale Supérieure des Beaux Arts de Paris: 1892 regulations to 1937 and its amendments arising from the presence of the students - women. This article analyses the regulation of the Parisian École Nationale Supérieure des Beaux-Arts, between 1892 and 1937. Its objective is mapping women participation by the scope of their admission process, ateliers specific using rules and the normative for students that became mothers at this Parisian School of Art. Keywords: Students-women; École Nationale Supérieure des Beaux-Arts; regulation between 1892 and 1937.
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4

Gournay, Isabelle, and Marie-Laure Crosnier Leconte. "American Architecture Students in Belle Epoque Paris: Scholastic Strategies and Achievements at the Ecole des Beaux-Arts." Journal of the Gilded Age and Progressive Era 12, no. 2 (April 2013): 154–98. http://dx.doi.org/10.1017/s1537781413000054.

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The Gilded Age and Progressive Era witnessed the largest influx of American architecture students to the Paris Ecole des Beaux-Arts. The U.S. contingent—120 students admitted in the 1890s, 154 in the 1900s—accounted for 10 to nearly 20 percent of incoming students each year. This illustrated essay uses projects prepared by these students to introduce the major features and principles of the Ecole's architecture curriculum, in particular the physical and instructional framework of the atelier and the medium of the concours. The essay presents a step-by-step selection of projects by American students admitted between 1890 and 1909. These range from a twelve-hour sketch problem required for the admission competition to a diplôme (masters' thesis). Beyond introducing the Beaux-Arts method of instruction, these prints provide insight into the subsequent American career of their authors and thus of American architecture and urban design overall, given the enormous influence exerted by the Ecole des Beaux Arts and its anciens élèves. Drawings requested from Ecole students were not just artfully composed and brilliantly rendered pictures. They were problem-solving endeavors. Former students preserved them not only as study models, but also as status symbols, even trophies.
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5

Griener, Pascal. "« Les Helvètes à Paris ». Les artistes suisses formés à l’école des Beaux-Arts, Paris,1793-1863." Perspective, no. 2 (July 30, 2006): 247–50. http://dx.doi.org/10.4000/perspective.366.

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6

Reimond, Grégory. "L’école municipale des beaux-arts et des arts décoratifs de Bordeaux et la référence antique : de l’art pour l’art à l’art social (1878-1906)." Veleia, no. 36 (December 9, 2019): 37. http://dx.doi.org/10.1387/veleia.20686.

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Pour qui s’interroge sur les liens entre progrès, changement social et Antiquité, les écoles municipales des beaux-arts et des arts décoratifs constituent des laboratoires intéressants. Dans la deuxième moitié du XIXesiècle, ce type d’institution ne cesse de se développer. Leur histoire est souvent méconnue. Parmi elles, nous avons retenu le cas de l’école municipale des beaux-arts et des arts décoratifs de Bordeaux, profondément réorganisée entre 1878 et 1889. À la fin du siècle, elle est dirigée par un archéologue et historien de l’art, l’helléniste et ancien Athénien Pierre Paris. L’objectif de cette enquête est de voir comment l’école s’est adaptée aux nouveaux enjeux de la fin du XIXesiècle et quelle place était alors réservée à la référence à l’Antiquité au sein de cette institution.
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Crosnier Leconte, Marie-Laure. "Les élèves suisses à l’École des beaux-arts de Paris 1800-1968." Études de lettres, no. 1 (March 15, 2017): 15–30. http://dx.doi.org/10.4000/edl.959.

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8

Verger, Émilie. "L’enseignement aux Beaux-Arts de Paris de 1960 à 2000 : une histoire d’artistes." Marges, no. 30 (May 21, 2020): 112–32. http://dx.doi.org/10.4000/marges.2044.

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9

Melot, Michel. "Le projet de Bibliotheque nationale des arts a Paris." Art Libraries Journal 18, no. 4 (1993): 4–10. http://dx.doi.org/10.1017/s030747220000849x.

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When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).
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10

Prentice, T. Merrill. ""Quatz Arts"-My Experiences as a Student at the Ecole des Beaux-Arts in Paris 1924-1928." Journal of the Society of Architectural Historians 44, no. 4 (December 1, 1985): 384–87. http://dx.doi.org/10.2307/990116.

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11

Fezi, Bodgan Andrei. "Bucarest, le « petit Paris des Balkans ». L'architecte roumain Duiliu Marcu, diplômé de l'École des beaux-arts." Livraisons d'histoire de l'architecture 8, no. 1 (2004): 41–51. http://dx.doi.org/10.3406/lha.2004.979.

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12

UZUN AYDIN, Derya. ""SANAYİ-İ NEFİSE MEKTEBİ" VE PARİS GÜZEL SANATLAR OKULU "L'ECOLE DES BEAUX-ARTS" ÜZERİNE BİR DEĞERLENDİRME." Journal of Academic Social Sciences, no. 6 (January 1, 2014): 74. http://dx.doi.org/10.16992/asos.333.

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13

Anne, Atik. "Review of Oh les beaux jours, Théâtre de la Madeleine, Paris (20 January–29 March 2012)." Journal of Beckett Studies 22, no. 1 (April 2013): 129–30. http://dx.doi.org/10.3366/jobs.2013.0065.

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14

Laugée, Thierry. "Un Panthéon morbide : la naissance du Musée de la Société phrénologique de Paris." Études françaises 49, no. 3 (January 13, 2014): 47–61. http://dx.doi.org/10.7202/1021202ar.

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Lors de la fondation de la Société de phrénologie, le renforcement des collections de têtes fut l’une des décisions principales de ses membres. Pour ce faire, il y eut une participation volontaire de nombreuses célébrités de tous domaines et de toutes disciplines. Une commission fut chargée de réaliser des copies de tous les plâtres importants présents dans les collections de province et à l’étranger, de visiter les bagnes pour faire mouler des têtes, ou d’obtenir des individus célèbres leur empreinte. Les collections s’enrichirent alors rapidement, on échangea, on surmoula les têtes dans les sociétés étrangères afin de posséder l’empreinte de types humains divers et de gloires internationales. Une fois ces reliques rassemblées en très grande quantité, il importait de les diffuser. Pour ce faire, la Société phrénologique de Paris prit modèle sur les beaux-arts et inaugura le 14 janvier 1836, rue de Seine-Saint-Germain, le Musée de la Société phrénologique de Paris, dont les collections sont aujourd’hui conservées au Musée de l’Homme de Paris. Le souhait premier en ouvrant ce Musée au public était l’enseignement et la diffusion gratuite du système gallien à tous ceux qui en ressentaient l’envie. Les étagères offraient alors un magnifique panorama des gloires parisiennes dans des domaines aussi divers que le théâtre, les sciences, les beaux-arts, la musique ou la politique. Par cette collection, ce Musée sans oeuvre d’art allait s’avérer populaire. Ces chasseurs de têtes furent fréquemment condamnés par la presse artistique, la tête phrénologique étant considérée comme une sculpture sans vie, une atteinte portée à la dignité des modèles et à l’art du portrait. Ainsi, par la réception critique de ce musée dans la presse artistique, il s’agira d’évaluer les craintes suscitées par l’émergence de ce panthéon morbide.
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Callen, Anthea. "The Body and Difference: Anatomy training at the Ecole des Beaux‐Arts in Paris in the later nineteenth century." Art History 20, no. 1 (March 1997): 23–60. http://dx.doi.org/10.1111/1467-8365.00045.

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Moreno Moreno, María Pura. "Cerámica y arquitectura : Palais de la céramique de Sèvres, de la verrerie et de la monnaie en L´Exposition internationale de Paris, 1937 = Ceramics and architecture: Palais de la Céramique de Sèvres, de la Verrerie et de la Monnaie at L´Exposition Internationale de Paris, 1937." Cuaderno de Notas, no. 21 (July 31, 2020): 50. http://dx.doi.org/10.20868/cn.2020.4471.

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ResumenEste artículo analiza el Palais de la Céramique de Sèvres, de la Verrerie et de la Monnaie realizado por los arquitectos Robert Camelot y los hermanos Jacques y Paul Herbé para L’Exposition Interna­tionale des Arts et Techniques dans la Vie Moderne de Paris, en 1937. La composición de su planta en U, procedente de las enseñanzas de L’École de Beaux Arts, unida a la puesta en valor de todo tipo de productos cerámicos, permitirá situarlo como uno de los numerosos pabellones expositivos que, a lo largo de la historia, apostaron por la fusión de arquitectura, construcción y decoración. La integración en sus envolventes de una gran variedad de piezas cerámicas, en diferentes formatos, enfocará la síntesis hacia la reivindicación del uso «jamais vu» , del recurso artesanal del barro cocido en aras a reinterpretar espacial y arquitectónicamente la belleza de lo elemental.AbstractThis article analyzes the Palais de la Céramique de Sèvres, de la Verrerie et de la Monnaie built by the architects Robert Camelot and the brothers Jacques and Paul Herbé for L’Ex­position Internationale des Arts et Techniques dans la Vie Moderne de Paris, in 1937. Its U-shaped floor plan, coming from the teachings of L’École de Beaux Arts, along with the enhancement of all sorts of ceramic products, will place it as one of the many exhibition pavilions that, throughout history, bet for the fusion of architecture, construction and deco­ration. The integration into its walls of a great variety of ceramic pieces, in different formats, will focus the synthesis towards the demand for the use «jamais vu”, of the artisan resource of fired clay in order to reinterpret, spatially and architecturally, the beauty of the elemental.
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Seys, Pascale. "Le naturalisme esthétique de Taine: entre positivisme et idéalisme." Dialogue 40, no. 2 (2001): 311–42. http://dx.doi.org/10.1017/s0012217300018606.

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AbstractTaine aspired to place his philosophical project in the synthesis of the two major theoretical tendencies of the nineteenth century: positivism, on the one hand, giving preference to the English tradition, and German metaphysics, mostly Hegelianism, on the other. What does this attempt mean in the field of aesthetics? Taine based his interpretation of the production of art on a series of objective laws, following the naturalist method, as he clearly stated at the Ecole des Beaux-Arts de Paris where he taught for several years from January 1864.
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18

Underwood, David K. "Alfred Agache, French Sociology, and Modern Urbanism in France and Brazil." Journal of the Society of Architectural Historians 50, no. 2 (June 1, 1991): 130–66. http://dx.doi.org/10.2307/990590.

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The 1930 master plan for Rio de Janeiro, drawn up by the French architect-urbanist Alfred Agache, had an important impact on Rio and on the development of modern planning in Brazil. Reflecting the socioscientific methods of Edmond Demolins and the Musée Social in Paris as well as the sociological ideas of Gabriel Tarde and Emile Durkheim, the plan exemplifies the ambitions and techniques of the urbanism of the Société Française d'Urbanistes (SFU). Agache, a leading theorist, teacher, and practitioner of SFU urbanism, developed a sociological urbanisme parlant that evolved out of his Beaux-Arts training and his background in French sociology. Agache's ideas on the fine arts and urban planning were synthesized and refined in the courses on social art history and urbanism, the first of their kind in France, that he taught at the Collège Libre des Sciences Sociales in Paris. In defining theoretically and expressing artistically the Brazilian capital's urban program in terms of the fine art of applied sociology, Agache provided the Brazilians with a blueprint for socioeconomic and moral reform on the levels of both urban and national development. Situated chronologically between the international expositions of 1925 and 1937 in Paris, Agache's project reflects as well the larger purposes and methods of the two expos and, in so doing, clarifies the historical evolution of SFU urbanism.
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Miranda-Barreiro, David, Michelle Herte, Joe Sutliff Sanders, and Mark McKinney. "Book Reviews." European Comic Art 10, no. 2 (September 1, 2017): 103–15. http://dx.doi.org/10.3167/eca.2017.100207.

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Santiago García (trans. Bruce Campbell), On the Graphic Novel (Jackson: University Press of Mississippi, 2015). 375 pp. ISBN: 978-1-49681-318-3 ($30)Jan-Noël Thon, Transmedial Narratology and Contemporary Media Culture, Frontiers of Narrative (Lincoln: University of Nebraska Press, 2016). 527 pp. ISBN: 978-0-80-327720-5 (€50.99)Thierry Bellefroid, ed., L’Âge d’Or de la bande dessinée belge: La Collection du Musée des Beaux-Arts de Liège (Brussels: Les Impressions Nouvelles, 2015). 96 pp. ISBN: 978-2-87-449232-7 (€19.50)Philippe Delisle, Petite histoire politique de la BD belge de langue française: Années 1920–1960 (Paris: Karthala, 2016). 199 pp. ISBN: 978-2-81- 111717-7 (€15)
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20

Chassagnoux, Alain. "David Georges Emmerich Professor of Morphology." International Journal of Space Structures 21, no. 1 (March 2006): 59–71. http://dx.doi.org/10.1260/026635106777641144.

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David Georges Emmerich taught morphology at the Ecole des Beaux Arts, and later at the Paris-La Villette School of Architecture from 1965 to 1990. An architect and engineer by training, convinced of the modern movement's inability to provide mankind with the architectural space needed, his research led to constructive systems using cheap, industrialised components, with wide scope for self-help housing as well as a broad range of architectural structures. His extensive study of regular partitioning in space, natural shapes, the resistance of shapes and combinatorial analysis led him to developing stereometric systems; and, more specifically, to the invention of self-tensioning, or tensegrity, structures.
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Memou, Antigoni. "Forgotten solidarities in the Atelier Populaire posters." Art & the Public Sphere 8, no. 1 (July 1, 2019): 7–21. http://dx.doi.org/10.1386/aps_00002_1.

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Abstract This article examines some of the 'forgotten' posters of the Atelier Populaire, which were collectively produced by artists, workers, students and activists among others in the occupied Beaux-Arts school during the events of May '68. The article argues that alternative visual narratives are to be discovered in these posters, which break away from the representations of the events as youth revolt and the geographical reduction of the events to Paris and the Cartier Latin. Looking at them anew allows us to rediscover the unique solidarity among students, workers, farmers, the migrant workers and the unemployed, and to decipher the anti-capitalist character of the movement and its global dimensions.
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Peng, Jian-E., and Yuting Zheng. "Metadiscourse and Voice Construction in Discussion Sections in BA Theses by Chinese University Students Majoring in English." SAGE Open 11, no. 2 (April 2021): 215824402110088. http://dx.doi.org/10.1177/21582440211008870.

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Voice is considered essential in academic writing, and metadiscourse is an important device contributing to voice. This study explores the use of metadiscourse and voice construction in Bachelor of Arts (BA) theses written at the onset and final stages by university undergraduates majoring in English in China. A corpus consisting of the discussion sections in the first and final versions of 35 BA theses was built, annotated, and analyzed. Two academics from this university were then invited to evaluate 10 pairs of the texts and specify textual elements that conveyed voice and to provide further comments in a follow-up interview. Results showed that the students used significantly more evidentials, hedges, and boosters in the final versions. The reviewers perceived minor growth in voice strength from the sample texts, and they commented that both content-related features and metadiscourse contributed to voice. This study highlights the importance of cultivating undergraduates’ awareness of voice construction and the use of metadiscourse in academic writing.
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ΝYSTAZOPOULOU-PÉLÉKIDOU, Marie. "Βιβλιοκρισία του: Le Mont Athos et l’Empire Byzantin. Trésors de la Sainte Montagne. Petit Palais, Musée des Beaux Arts de la Ville de Paris, 10 avril-5 juillet 2009. Catalogue." BYZANTINA SYMMEIKTA 20 (January 18, 2011): 329. http://dx.doi.org/10.12681/byzsym.1009.

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<span style="font-family: 'Times New Roman','serif'; font-size: 12pt">&Beta;&iota;&beta;&lambda;&iota;&omicron;&kappa;&rho;&iota;&sigma;ί&alpha; &tau;&omicron;&upsilon;: Le Mont Athos et l&rsquo;Empire Byzantin. Tr&eacute;sors de la Sainte Montagne.</span><span style="font-family: 'Times New Roman','serif'; font-size: 12pt"> <em>Petit Palais, Mus&eacute;e des Beaux Arts de la Ville de<span>&nbsp; </span>Paris, 10 avril-5 juillet 2009. Catalogue, </em>p. 318, 4o, 228 photos en couleur</span>
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Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.

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The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).
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Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda, and Geneviève Aitken. "Introduction." Journal of Japonisme 2, no. 1 (January 18, 2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.

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The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subsequently promoted ukiyo-e prints in France. The impact of this exhibition on artists and critics, which is clearly visible in artists’ letters and contemporary reviews published in the press, is also briefly discussed.
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Giaveri, Maria Teresa. "Abraham Constantin/Stendhal, Idées italiennes sur quelques tableaux célèbres, édition établie et présentée par Sandra Teroni et Hélène de Jacquelot, Paris, Beaux-Arts de Paris éditions, coll. «." Genesis, no. 40 (April 15, 2015): 198–200. http://dx.doi.org/10.4000/genesis.1207.

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Simier, Amélie. "Exposition permanente, expositions temporaires : deux façons de parler sculpture au Petit Palais, Musée des Beaux-Arts de la Ville de Paris." Muséologies: Les cahiers d'études supérieures 3, no. 2 (2009): 112. http://dx.doi.org/10.7202/1033566ar.

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Jobbé-Duval, Valéry. "Une réalisation originale de création collective par les Catholiques des Beaux-Arts: Sainte-Cécile de Charonne, chapelle de secours, Paris, 1911-1913." Revue d'Histoire de l'Eglise de France 95, no. 1 (January 2009): 45–81. http://dx.doi.org/10.1484/j.rhef.3.11.

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Buchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.

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As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4
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Merlin, Bella. "Practice as Research in Performance: a Personal Response." New Theatre Quarterly 20, no. 1 (January 5, 2004): 36–44. http://dx.doi.org/10.1017/s0266464x03000319.

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The second conference called by the organizers of the ‘Practice as Research in Performance’ project (PARIP) was held from 11 to 14 September 2003 at the University of Bristol. PARIP is not an organization, but an AHRB-funded research project into the nature and academic implications of performance practice as research, in terms both of the discipline of Drama and Theatre Studies in the university, and the related issues of research assessment and funding. Its conferences aim to give academics in the field the opportunity to add their voices to the debate, and indeed to help shape its outcome. Bella Merlin, a Contributing Editor and Book Reviews Editor for NTQ, is author of Beyond Stanislavsky (Nick Hern Books, 2001). She attended the PARIP conference on the cusp of her personal decision to return to the acting profession from her post in the University of Birmingham, and as this issue goes to press is appearing in the Out of Joint production of David Hare's The Permanent Way. Here she combines a report on the conference with some personal reflections on practice, research, and practice as research.
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Clericuzio, Peter. "Art Nouveau and Bank Architecture in Nancy: Negotiating the Re-Emergence of a French Regional Identity." Architectural History 63 (2020): 219–56. http://dx.doi.org/10.1017/arh.2020.6.

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AbstractArt nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era's political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian war.
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Erbas, Deniz. "Yekhan Pınarlıgil à propos de l’exposition « Une génération hors d’elle » aux Beaux-Arts de Paris et du programme de mondialisation du Centre Pompidou." Marges, no. 16 (March 15, 2013): 114–19. http://dx.doi.org/10.4000/marges.268.

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Hill, Leslie. "‘Push the Boat Out’: Site-Specific and Cyberspatial in Live Art." New Theatre Quarterly 14, no. 53 (February 1998): 43–47. http://dx.doi.org/10.1017/s0266464x00011714.

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As a mutually-illuminating contrast to the academic exploration in the previous article of the potential of CD-ROM as a means both of teaching a ‘classical’ playtext and of analyzing the multiple choices involved in its performance, the two following pieces explore the potential of the new technologies in the creation and documentation of live art. Focusing upon her performance Push the Boat Out, given as part of the Jezebel Season at the Institute of Contemporary Arts in 1995, Leslie Hill first outlines the thinking behind her use of the Internet and the Web – as yet more economic than CD-ROM – both for creating ‘live art’ and for rendering its conventionally ‘unprintable’ form as a ‘text’ with its own integrity. The scripted element of her performance follows. Leslie Hill is a writer and performer, currently a resident artist fellow at the Institute for Studies in the Arts, and a senior lecturer in the Theatre Department at Arizona State University. Along with Helen Paris, she is co-artistic director of the ‘curious.com’ multimedia performance company.
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Glahn, Else. "Architecture du paysage en Extrême-Orient. By Sophie Clément, Pierre Clément and Shin Yong-Hak. [Paris: Ecole nationale supérieure des Beaux-Arts, 1987. FF150.]." China Quarterly 121 (March 1990): 157. http://dx.doi.org/10.1017/s0305741000013783.

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Marowitz, Charles. "Remembering Jan." New Theatre Quarterly 18, no. 2 (May 2002): 101–2. http://dx.doi.org/10.1017/s0266464x02230183.

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EVERY SO OFTEN, usually on a weekend, I would meet Jan Kott in Santa Monica for a coffee and a bagel. Having been weaned in the seedier cafés of Paris and Warsaw, this was a cosy reminder of the bohemian life he led before becoming an academic, a critic, a Resistance-fighter and an émigré.
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LEE, SIMON. "THE LEGACY OF HOMER: FOUR CENTURIES OF ART FROM THE ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS, PARIS BY EMMANUEL SCHWARTZ, GEORGE STEINER AND PHILIPPE SÉNÉCHAL." Art Book 13, no. 4 (November 2006): 51–52. http://dx.doi.org/10.1111/j.1467-8357.2006.00739.x.

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Picot, Nicole. "La sous-section des bibliothèques d’art de l’Association des Bibliothécaires Français a trente ans." Art Libraries Journal 23, no. 3 (1998): 32–37. http://dx.doi.org/10.1017/s0307472200011123.

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L’Association des Bibliothécaires Français est la plus ancienne association de bibliothécaires en France. Elle fut fondée en 1906 et reconnue d’utilité publique en 1969. Elle compte environ 3 800 adhérents répartis dans deux sections: Bibliothèques d’ étude et recherche et Bibliothèques publiques. Les bibliothèques d’art représentent une sous-section des bibliothèques d’étude et recherche au même titre que la BnF, les bibliothèques spécialisées, les bibliothèques universitaires, les bibliothèques de musique. Le dynamisme et la spécificité des bibliothèques d’art ont nécessité la constitution de cette ‘sous-section’.Notre première réunion eut lieu à la bibliothèque de l’École nationale supérieure des beaux-arts de Paris, le 16 novembre 1967, à l’initiative de 24 bibliothécaires d’art et historiens d’art. Grâce à la clairvoyance de tous ses membres et à l’enthousiasme de Suzanne Damiron, Jacqueline Viaux, Huguette Rouit, Denise Gazier, Geneviève Bonté, Annie Jacques, Catherine Schmitt, cette sous-section a affirmé sa personnalité. Elle est maintenant riche de plus de 130 membres. Nos thèmes de réflexion sont toujours d’actualité: coordination des acquisitions et des échanges, réalisation de répertoires, de catalogues collectifs, enrichissement de l’indexation, affinement des systèmes de classification, évaluation des ouvrages de référence, pédagogie de l’accueil des lecteurs.
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Burduloi, Marta Otilia. "14. Nicolette Choral Piece by Maurice Ravel. Analysis and Interpretative Concept." Review of Artistic Education 19, no. 1 (April 1, 2020): 110–20. http://dx.doi.org/10.2478/rae-2020-0014.

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AbstractIn order to place the piece in the context of the impressionist current, we will try to emphasize its characteristics and tendencies on several occasions. The unit of romantic art, governed by academic laws, begins to be shaken, realism as a fundamental direction, based on a direct connection with life, gradually imposing itself, bringing a new aesthetic, with its own, particular ideas, with specific methods and means of expression. The decline of Romanticism started with the first signs of crisis manifested by the repetition of the clichés and by the insistence with which one struggles to maintain all the arts within the narrow frame of the canons, is accentuated and, especially after the Paris Commune, will lead to the outline of new directions, of national specificity, to which a large number of artists from all generations joined, considering their action as a mission and a patriotic duty of honor, of an exceptional significance in finding a path conducive to the further development of French art.
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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.

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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.
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Duchesneau, Michel. "François Sabatier. Miroirs de la musique : la musique et ses correspondances avec la littérature et les beaux-arts, 1800–1950. Paris : Fayard, 1995. 728 p. ISBN 2-213-59483-X." Canadian University Music Review 18, no. 2 (1998): 102. http://dx.doi.org/10.7202/1014660ar.

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Trombley, Justine L. "Corporate Jurisdiction, Academic Heresy, and Fraternal Correction at the University of Paris, 1200–1400 by Gregory S. Moule." Catholic Historical Review 105, no. 2 (2019): 357–58. http://dx.doi.org/10.1353/cat.2019.0066.

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White, Peta, Jo Raphael, Shelley Hannigan, and John Clark. "Entangling Our Thinking and Practice: A Model for Collaboration in Teacher Education." Australian Journal of Teacher Education 45, no. 8 (August 2020): 93–110. http://dx.doi.org/10.14221/ajte.2020v45n8.6.

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Collaboration is a key component of our practice as teachers and teacher educators and there is a need to develop generative models for collaboration among teacher educators. We have created and tested a model of collaboration. Data were drawn from: recordings of monthly group meetings; discussion threads and documents on our leaning management site; individual interviews with all members of the group conducted three times across the project; and reflections on these interview transcripts by individual annotation and group discussions. The model includes a collaborative overarching research project and, nested under this mantle, a series of focused research projects conducted by pairs of collaborators, international networking, and enactments of scholarship. A key element of the success of this model was the foundation of this research in arts-based inquiry. The model has enabled rapid and rich development of academic collaboration with flexibility to develop new practices and projects that benefits research and teaching.
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Kazimierczak, Mariola. "MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES." Muzealnictwo 60 (January 4, 2019): 64–77. http://dx.doi.org/10.5604/01.3001.0013.2202.

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Michał Tyszkiewicz was an outstanding collector of antiquities and a pioneer of Polish archaeological excavations in Egypt conducted in late 1861 and early 1862, which yielded a generous donation of 194 Egyptian antiquities to the Paris Louvre. Today Tyszkiewicz’s name features engraved on the Rotunda of Apollo among the major Museum’s donors. Having settled in Rome for good in 1865, Tyszkiewicz conducted archaeological excavations there until 1870. He collected ancient intaglios, old coins, ceramics, silverware, golden jewellery, and sculptures in bronze and marble. His collection ranked among the most valuable European ones created in the 2nd half of the 19th century. Today, its elements are scattered among over 30 major museums worldwide, e.g. London’s British Museum, Ny Carlsberg Glyptotek in Copenhagen, New York’s Metropolitan Museum of Art, or the Museum of Fine Arts in Boston. The latest investigation of M. Tyszkiewicz’s correspondence to the German scholar Wilhelm Froehner demonstrated that Tyszkiewicz widely promoted the development of archaeology and epigraphy; unique pieces from his collections were presented at conferences at Rome’s Academia dei Lincei or at the Académie des Inscriptions et Belles-Lettres in Paris, and published by Italian, French, Austrian, and German scholars. He was considered an expert in glyptic, and today’s specialists, in recognition of his merits, have called a certain group of ancient cylinder seals the ‘Tyszkiewicz Seals’, an Egyptian statue in black basalt has been named the ‘Tyszkiewicz Statue’, whereas an unknown painter of Greek vases from the 5th century BC has been referred to as the ‘Painter Tyszkiewicz’.
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Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (February 1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.

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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, Kohtes develops a hypothesis to explain the visibility of ‘Invisible Theatre’ at specific historic moments – and in so doing he hopes also to illuminate for a wider audience some of the ideas and research methods of German Theaterwissenschaft. Martin Maria Kohtes, who presently lives and works in Berlin and Cologne, studied Theatre Arts at the Freie Universität Berlin, at Rutgers University in New Jersey, and at the Université de la Sorbonne Nouvelle in Paris. His study of Guerilla Theater: Theorie und Praxis des amerikanischen Strassentheaters was published by Gunter Narr Verlag, Tübingen, in 1990.
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Immonen, Visa, and Elina Räsänen. "From passion to bereavement." Journal of the History of Collections 32, no. 2 (May 27, 2019): 379–90. http://dx.doi.org/10.1093/jhc/fhz018.

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Abstract The Finnish diplomat Harri Holma and his wife Alli, along with their son, art historian Klaus, created a private collection of 554 items. They acquired antique pieces and works of art in Berlin, Paris and Rome from the 1920s to the 1950s. The collection consists of Western and Southern European paintings, sculpture, furniture, textiles and tableware, dating from the Middle Ages to the nineteenth century. Initially the objects were acquired by the Holmas to decorate diplomatic residences, but eventually they came to form a deliberately assembled collection. Following Klaus’s death, Harri and Alli Holma donated the collection to the Lahti City Museum in the 1950s and the 1960s. Here the creation of the collection is first traced then followed on its journey to Finland, with a focus on the developing relationship between objects, family history and museum institution. The shifts in the collection’s narrative from hobby to an expression of grief, and finally to a formal museum assemblage and a subject of academic research generate epistemological tensions.
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Laczko-Kerr, Ildiko, and David C. Berliner. "The Effectiveness of "Teach for America" and Other Under-certified Teachers." education policy analysis archives 10 (September 6, 2002): 37. http://dx.doi.org/10.14507/epaa.v10n37.2002.

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The academic achievements of students taught by under-certified primary school teachers were compared to the academic achievements of students taught by regularly certified primary school teachers. This sample of under-certified teachers included three types of under-qualified personnel: emergency, temporary and provisionally certified teachers. One subset of these under-certified teachers was from the national program "Teach For America (TFA)." Recent college graduates are placed by TFA where other under-qualified under-certified teachers are often called upon to work, namely, low-income urban and rural school districts. Certified teachers in this study were from accredited universities and all met state requirements for receiving the regular initial certificate to teach. Recently hired under-certified and certified teachers (N=293) from five low-income school districts were matched on a number of variables, resulting in 109 pairs of teachers whose students all took the mandated state achievement test. Results indicate 1) that students of TFA teachers did not perform significantly different from students of other under-certified teachers, and 2) that students of certified teachers out-performed students of teachers who were under-certified. This was true on all three subtests of the SAT 9reading, mathematics and language arts. Effect sizes favoring the students of certified teachers were substantial. In reading, mathematics, and language, the students of certified teachers outperformed students of under-certified teachers, including the students of the TFA teachers, by about 2 months on a grade equivalent scale. Students of under-certified teachers make about 20% less academic growth per year than do students of teachers with regular certification. Traditional programs of teacher preparation apparently result in positive effects on the academic achievement of low-income primary school children. Present policies allowing under-certified teachers, including those from the TFA program, to work with our most difficult to teach children appear harmful. Such policies increase differences in achievement between the performance of poor children, often immigrant and minority children, and those children who are more advantaged.
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Chateau, Dominique, and Martin Lefebvre. "Dance and Fetish: Phenomenology and Metz's Epistemological Shift." October 148 (May 2014): 103–32. http://dx.doi.org/10.1162/octo_a_00177.

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Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that “with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories.” According to another, “Metz exemplified a new kind of film theorist, one who came to the field already ‘armed’ with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism.” Of course, Metz didn't just surge like a meteor on the scene of film studies. His arrival was “prepared” by the filmologie movement spear-headed in Paris by Gilbert Cohen-Séat and by two early film semiology essays published by Roland Barthes in La Revue internationale de filmologie. Yet it is Metz who is rightly remembered as the figurehead of film semiology.
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Lacroix, Laurier. "Gilles Corbeil (1920-1986), un ‘passeur’ tranquille." Les Cahiers des dix, no. 63 (June 8, 2010): 217–55. http://dx.doi.org/10.7202/039918ar.

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Le nom de Gilles Corbeil (1920-1986) est surtout connu par la galerie qu’il a dirigée pendant plus de quinze ans (1969-1985) ainsi que par la Fondation Émile-Nelligan, mise sur pied en 1979. Ces activités qui datent de la dernière période de sa vie occultent cependant une personnalité active dans le milieu du théâtre et de la musique, avant son implication dans le milieu des arts plastiques. Fils de l’homme d’affaires Émile Corbeil, Gilles Corbeil a grandi dans un milieu bourgeois. Sa mère, Gertrude Nelligan, sœur du poète Émile Nelligan, décède alors qu’il n’a que cinq ans. il est initié au piano par sa sœur Juliette et il démontre un intérêt pour la littérature pendant ses études classiques au collège de Saint-Laurent. en 1937, il joint les Compagnons de Saint-Laurent, la troupe de théâtre spécialisée dans le répertoire chrétien avant de se consacrer aux auteurs classiques. entre 1947 et 1949, il se rend à Paris où il étudie avec Nadia Boulanger. De retour à Montréal, il s’implique activement dans le milieu de la peinture. Paul-Émile Borduas devient son mentor. il organise des expositions au Lycée Pierre Corneille où il enseigne, devient éditeur de la revue Arts et pensée et prépare l’exposition Espace 55 au Musée des beaux-arts de Montréal, en plus de développer sa propre pratique. il affirme ses convictions souverainistes et joint le Rassemblement pour l’indépendance nationale en 1961. Gilles Corbeil se définit comme un amateur et un dilettante, davantage intéressé par la diffusion que par la collection des œuvres d’art. en plus des rentes qu’il touche de son héritage, il gagne un appoint en mettant à profit ses connaissances pour s’adonner au commerce de l’art dès le début des années 1950. L’ouverture de la galerie Gilles Corbeil lui permet d’afficher son intérêt pour la peinture telle qu’elle s’est développée dans la foulée du post-automatisme. il défend l’abstraction lyrique en présentant des artistes d’origine étrangère aussi bien que québécois. Par son implication dans plusieurs secteurs de l’art contemporain au Québec, pendant près de cinquante ans, Gilles Corbeil accompagne le changement des mentalités qui favorise la réalisation de la Révolution tranquille.
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Arshavskaya, Ekaterina. "Complexity in mentoring in a pre-service teacher practicum: a case study approach." International Journal of Mentoring and Coaching in Education 5, no. 1 (March 7, 2016): 2–19. http://dx.doi.org/10.1108/ijmce-07-2015-0021.

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Purpose – Significant effort has been made to support pre-service and novice teacher learning in the K-12 context. Less attention has been paid to promoting pre-service and novice second language teacher learning via collaboration with peers and more expert educators at the university level. In order to facilitate this type of teacher collaboration, a mentoring project was incorporated into the existing practicum of a Master of Arts in Teaching English as a Second Language (ESL) program at a US University. The purpose of this paper is to examine the nature of the mentoring experiences of four ESL mentor-pre-service teacher pairs in the US University context. Design/methodology/approach – For this research project, eight teachers – four mentor-pre-service teacher pairs – participated as pairs in mentoring sessions focussed on activities such as co-planning, co-teaching, and co-reflecting on teaching. Informed by a sociocultural perspective on teacher learning (Vygotsky, 1978), this study presents case studies of all four pairs in order to demonstrate the complex nature of mentoring. The data analysis focussed on the content of the teachers’ interactions and their perceptions of the mentoring experience. Findings – The study traced the developmental trajectories of the participating teachers over one 15-week academic semester. The study uncovered some critical contradictions that the participants encountered during the mentoring experience, thus pointing to its complexity. The study also uncovered the varied nature of mentoring: whereas in one pair the mentor acted as a more expert other (Vygotsky, 1978), in another pair, the mentoring relationship was more reciprocal. Practical implications – This study showed that pre-service teachers can develop further through mentoring. Such mentoring can help teachers gain confidence and share teaching strategies. At the same time, the study revealed certain challenges associated with introducing a mentoring project in a pre-service teacher practicum. It is recommended that program faculty as a whole read the rich dialogues produced by participating teachers engaged in relationships focussed on collaborative learning, thereby discovering a foundation for revisions that go beyond individual teaching practices to the programmatic level. Originality/value – This study’s principal contribution to the field is that it showcases the complex nature of mentoring experiences and the ways in which they differ from each other.
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Godin Laverdière, Julie Anne. "Michèle Grandbois, Anna Hudson et Esther Trépanier, Le nu dans l’art moderne canadien, 1920–1950. Catalogue d’exposition, Québec, Musée national des beaux-arts du Québec, Paris, Somogy éditions d’art, 2009, 191 p., 54.95 $, ISBN 978-2-551-23825-5." RACAR : Revue d'art canadienne 35, no. 1 (2010): 87. http://dx.doi.org/10.7202/1066806ar.

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