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Journal articles on the topic 'Hôtel du Louvre (Paris)'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 May 2024

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1

Brooks, William. "Theatrical Success and the Chronology of Productions at the Hotel de Bourgogne: New Evidence from Racine and Quinault." Theatre Survey 30, no. 1-2 (May 1989): 35–44. http://dx.doi.org/10.1017/s0040557400000752.

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It is a commonplace regret of theatre historians that, for the Hôtel de Bourgogne (as, indeed, for the Théâtre du Marais) there exists no continuous record of performances analogous to that maintained by La Grange in respect of Molière's troupe. Thus one cannot always be certain which plays were performed, still less when. Such dates as are certain—or even, virtually certain—are so, only because they arise in the writings of contemporaries. In particular, the gazetiers (Loret, Robinet, and others) are an invaluable source of information. One can say, for example, that the first performance of Quinault's Stratonice took place on January 2, 1660 at the Hôtel de Bourgogne, that of Pierre Corneille's Sertorius on February 25, 1662 at the Théâtre du Marais, that of Racine's Andromaque on November 17, 1667 in the Louvre (given by the troupe of the Hôtel), and that of Quinault's Pausanias at the Hôtel on November 16, 1668—provided, of course, that the gazetiers are not mistaken (and, as a fact, they are not infallible). Clues may also be found in other miscellaneous writings (one such, to be mentioned again below, establishes the date of Racine's Bérénice).

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2

Lévy-Vroelant, Claire. "Hôtel Paris Opéra, entre chagrin et mépris." Plein droit 106, no. 3 (2015): 28. http://dx.doi.org/10.3917/pld.106.0028.

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3

Benamou, P. H. "Congrès annuel SFMCP 2010 Paris — Hôtel Novotel Vaugirard, Paris-XV, France." Médecine et Chirurgie du Pied 27, no. 1 (January 22, 2011): 3–8. http://dx.doi.org/10.1007/s10243-010-0305-5.

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4

Ducat, Kateline. "Paris. Cour Carrée, musée du Louvre." Archéologie médiévale, no. 45 (December 1, 2015): 186–87. http://dx.doi.org/10.4000/archeomed.7623.

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5

Gady, Alexandre. "La porte de l’ancien Hôtel de Ville de Paris." Revue de l'art N° 125, no. 3 (March 1, 1999): 38–43. http://dx.doi.org/10.3917/rda.125.0038.

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6

Dijkstra, Jellie, M. Comblen-Sonkes, and P. Lorentz. "Le Musee du Louvre, Paris, Vol. 2." Simiolus: Netherlands Quarterly for the History of Art 24, no. 1 (1996): 74. http://dx.doi.org/10.2307/3780775.

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7

Pust, Hans-Christian. "Ausstellung „Orages de Papier“ in Paris." WLBforum 12, no. 2 (October 15, 2010): 12–15. http://dx.doi.org/10.53458/wlbf.v12i2.395.

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Am 26. Oktober 2010 wurde in Paris die Ausstellung „Orages de Papier – La Grande Guerre des médias“ eröffnet. Die Bibliothek für Zeitgeschichte hat diese Ausstellung zusammen mit der Bibliothèque nationale et universitaire de Strasbourg (BNU), der Bibliothèque de Documentation Internationale Contemporaine (BDIC) in Paris-Nanterre und der Bibliothèque nationale de France (BnF) erarbeitet. Alle vier Institutionen haben zu der Ausstellung Exponate aus ihren Kriegssammlungen beigesteuert, die im Ersten Weltkrieg angelegt wurden. Die Ausstellung war 2008 und 2009 schon in Straßburg und in Stuttgart zu sehen. In Paris wird sie in den Ausstellungsräumen der BDIC im Hôtel National des Invalidesgezeigt.

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8

McHugh, Timothy J. "Establishing Medical Men at the Paris Hôtel-Dieu, 1500–1715." Social History of Medicine 19, no. 2 (August 1, 2006): 209–24. http://dx.doi.org/10.1093/shm/hkl003.

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9

Pelegrin, Germaine. "Le Louvre à l'heure de la programmation, Paris." Museum International (Edition Francaise) 31, no. 2 (April 24, 2009): 108–11. http://dx.doi.org/10.1111/j.1755-5825.1979.tb01504.x.

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10

Monceau, Nicolas. "Le paysage audio-visuel turc. Hôtel Lutetia, Paris, 12 juin 1995." CEMOTI 20, no. 1 (1995): 382–98. http://dx.doi.org/10.3406/cemot.1995.1301.

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11

Chauvin, Agnès. "37, rue du Louvre : de Paris-Soir au Figaro." Livraisons d'histoire de l'architecture 11, no. 1 (2006): 21–32. http://dx.doi.org/10.3406/lha.2006.1030.

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12

Trombetta, Pierre-Jean. "Seine. Paris : fouilles archéologiques du Grand Louvre, Cour Napoléon." Bulletin Monumental 143, no. 2 (1985): 158–60. http://dx.doi.org/10.3406/bulmo.1985.2700.

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13

Trombetta, Pierre-Jean. "Seine. Paris : fouilles archéologiques du Grand-Louvre, Cour Napoléon." Bulletin Monumental 143, no. 3 (1985): 276–77. http://dx.doi.org/10.3406/bulmo.1985.2729.

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14

Rizolli, Marcos. "Horizontes da visualidade: um ensaio visual acerca das fronteiras patrimoniais no Le Louvre-Lens." Revista ARA 7, no. 7 (November 21, 2019): 63–75. http://dx.doi.org/10.11606/issn.2525-8354.v7i7p63-75.

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Os encontros com a arte, quase sempre, nos levam às fronteiras do sensível e seus espaços tendem a ser desvios do cotidiano. Esse ensaio pretende abordar um episódio muito peculiar: minha visita, em 2017, ao Le Louvre-Lens. Um museu surpreendente – por sua distância da pólis, por sua arquitetura indutora ao desconforto dos hábitos, por sua expografia plena de high-lights artísticas e pela vocação de diversificação e multiplicação do patrimônio cultural irradiado de sua célula-mãe, o Musée du Louvre de Paris.

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15

Bertrand, Loïc, Philippe Dillmann, and Ina Reiche. "Synchrotron radiation and neutrons in art and archaeology 2014." Journal of Analytical Atomic Spectrometry 30, no. 3 (2015): 540–41. http://dx.doi.org/10.1039/c5ja90006a.

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Loïc Bertrand, Philippe Dillmann and Ina Reiche introduce the Synchrotron radiation and neutrons in art and archaeology 2014 themed issue, and give an overview of the conference held in the Louvre Museum, Paris.

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16

Lewallen, Nina. "Architecture and Performance at the Hôtel du Maine in Eighteenth-Century Paris." Studies in the Decorative Arts 17, no. 1 (September 2009): 2–32. http://dx.doi.org/10.1086/652662.

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Devauchelle, Didier. "Les stèles Louvre IM 3011 et 4192." Abgadiyat 16, no. 1 (October 19, 2022): 29–33. http://dx.doi.org/10.1163/22138609-01601006.

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Quand on repère sur un monument le titre ḫrp ḥwwt, on pense tout de suite à Ramadan et à ses publications. Cela me rappelle aussi la première soutenance de thèse d’Etat à laquelle j’ai assisté à Paris, debout au fond d’un des amphithéâtres bien rempli de la Sorbonne: impressionnant jury devant un excellent candidat! Afin de lui rendre hommage, qu’il me soit permis de revenir sur deux stèles du Sérapéum de Memphis qui attestent ce titre et que Ramadan connaît.

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Coelho, Rafael Senra. "O museu transformado em campo operatório em guardiães do Louvre." Revista Memorare 6, no. 2 (December 20, 2019): 110. http://dx.doi.org/10.19177/memorare.v6e22019110-120.

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A graphic novel Guardiães do Louvre propõe uma visita pouco ortodoxa ao Museu do Louvre, em Paris, focada não nos roteiros turísticos, mas na apreciação de obras de autores como Jean-Baptiste Camille Corot e Vincent Willem Van Gogh. A abordagem do autor, Jiro Taniguchi, se assemelha à perspectiva de “campo operatório” (table) sugerida por Georges Didi-Huberman, onde o processo se sobrepõe à obra pronta (tableau). Em uma visão historiográfica, a proposta de Taniguchi apresenta múltiplas (e infinitas) possibilidades de interpretação, abrindo-se em um panorama dinâmico e heterogêneo, semelhante à ideia de olhar o passado “a contrapelo” proposta por Walter Benjamin.

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19

Bove, Boris. "La demeure bourgeoise à Paris au XIVe siècle : bel hôtel ou grant meson ?" Histoire urbaine 3, no. 1 (2001): 67. http://dx.doi.org/10.3917/rhu.003.0067.

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20

Garcia-Ventura, Agnès. "Tres relieves de Khorsabad, Nimrud y Nínive o de donaciones y desideratas: una aproximación a las relaciones entre el Louvre y el Museo de Reproducciones Artísticas de Madrid (1896-1900)." Complutum 31, no. 2 (November 12, 2020): 361–78. http://dx.doi.org/10.5209/cmpl.72489.

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El extinto Museo de Reproducciones Artísticas de Madrid, cuya colección alberga el Museo Nacional de Escultura de Valladolid desde 2011, contó con copias de 14 piezas mesopotámicas. Buena parte de las mismas se encargó a dos museos de referencia europeos: el Museo Británico (Londres) y el Museo del Louvre (París). En este artículo nos fijaremos en tres relieves de Khorsabad, de Nimrud y de Nínive cuyos originales se encuentran en el Louvre. Gracias al trabajo con documentación de archivo del Museo de Reproducciones ha sido posible, en primer lugar, descubrir el vaciado del relieve de Khorsabad como una desiderata que se trató de gestionar en 1896 pero que nunca llegó a materializarse. En segundo lugar se ha identificado al arqueólogo Pierre Paris (1859-1930) como el intermediario que posibilitó que el Louvre donara al museo madrileño los vaciados de dos relieves de Nimrud y de Nínive en el año 1900. Por todo ello, este caso de estudio articulado a partir de tres ejemplos permite reconstruir algunos aspectos de las relaciones entre el Louvre y el Museo de Reproducciones entre 1896 y 1900, reflejo a su vez de los vínculos culturales y diplomáticos entre los dos países implicados.

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21

Richard, Bryan, and Josephine Roosandriantini. "PENERAPAN ARSITEKTUR FUTURISTIK DAN FUNGSIONALIS PADA BANGUNAN MUSEUM LE GRANDE LOUVRE." Jurnal Arsitektur Kolaborasi 2, no. 2 (November 1, 2022): 44–53. http://dx.doi.org/10.54325/kolaborasi.v2i2.33.

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Arsitektur modern merupaka arsitektur yang muncul di Inggris saat revolusi industri pada abad ke-19 dan arsitektur modern muncul karena adanya kebosanan terhadap bentuk arsitektur klasik yang dinilai terlalu berlebihan dengan banyaknya ornamen yang menghiasi bangunan dan karena arsitektur klasik dinilai kurang efektif dalam penggunaan ruang di dalam bangunan sehingga banyak ruang yang terbuang hanya untuk ornamen.Arsitektur modern sendiri memiliki ciri khas dimana bentuk bangunan tersusun atas bentuk geometris,tidak ada atau minim ornamen,mengutamakan penataan ruang dan disesuaikan dengan kebutuhan pengguna. Bangunan yang akan dijadikan objek penelitian adalah museum Le Grande Louvre,Paris , Prancis dikarenakan museum ini memiliki material dan bentuk yang menonjol dibandingkan dengan bangunan sekitarnya yang berupa benteng. Tujuan penelitian ini untuk mengidentifikasi unsur-unsur arsitektur modern dan aliran arsitektur modern yang digunakan pada bangunan museum Le Grande Louvre. Penelitian ini akan berfokus pada bentuk bangunan, material bangunan,denah dan sirkulasi ruang pada bangunan museum dengan menggunakan metode literatur. Berdasarkan studi literatur yang telah dilakukan terhadap bangunan museum Louvre ditemukan unsur-unsur arsitektur modern pada bangunan seperti penggunaan material pabrikasi berupa besi, kaca, beton, penggunaan bentuk geometri pada bangunan sehingga dapat diambil kesimpulan bahwa museum Louvre ini menggunakan arsitektur modern pada bangunannya.

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22

Taylor, Raphaël, Bart Beaty, Robert Duggan, Catriona MacLeod, and Ann Miller. "Review Article, Report and Exhibition and Book Reviews." European Comic Art 2, no. 1 (January 1, 2009): 153–68. http://dx.doi.org/10.3828/eca.2.1.9.

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REVIEW ARTICLEDaniel Couvreur, Frédéric Soumois and Philippe Goddin, Les Vrais Secrets de la Licorne [‘The True Secrets of the Unicorn’] (Brussels/Tournai: Moulinsart/Casterman, 2006). 127 pp., ISBN 978-2-87424-118-5 (hardback, €15.00)Daniel Couvreur and Frédéric Soumois, with a preface by Dominique Maricq, À la Recherche du Trésor de Rackham le Rouge [‘In Search of Red Rackham’s Treasure’] (Brussels/Tournai: Moulinsart/Casterman, 2007). 135 pp., ISBN 978-2-87424-160-4 (paperback, €15.00)REPORTAngoulême, 2009EXHIBITION REVIEWMusée du Louvre, Paris, Le Petit dessein: Le Louvre s’ouvre au neuvième art [‘Modest Plans: The Louvre Opens up to the Ninth Art’]BOOK REVIEWSCharles Hatfield, Alternative Comics: An Emerging Literature (Jackson: UP of Mississippi, 2005). 182 pp. ISBN 978-1578067190 (paperback, $22.00)Jeff McLaughlin, Comics as Philosophy (Jackson: UP of Mississippi, 2005). 246 pp. ISBN 1-57806-794-4 (paperback, £12.50)Pierre Fresnault-Deruelle, Images à mi-mots [‘Images Halfway to Words’] (Brussels: Impressions nouvelles, 2008). 191 pp. ISBN 978-2-87449-048-4 (€20.00)

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23

Trevelin, Giovanna. "Noção de mobilidade em Lafont: retrato de uma mulher negra no Ocidente como externalização da africanidade." Fronteiras: Revista Catarinense de História, no. 43 (January 25, 2024): 265–69. http://dx.doi.org/10.36661/2238-9717.2024n43.14133.

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O livro de Anne Lafont, Une africaine au louvre en 1800: la place du modèle [Uma africana no Louvre] (2022), motivo desta resenha, nos propõe algumas importantes reflexões. A autora é uma historiadora da arte francesa, pesquisadora e professora na École des Hautes Études en Sciences Sociales, em Paris. Com alguns projetos na área de história da arte, também é reconhecida por seu livro L’Art et la Race. L’Africain (tout) contre l’oeil des Luimères [A arte e a raça – O africano de (e ao) encontro do olhar iluminista] (2019), que pensa o lugar de corpos negros na arte ocidental como também sujeitos de posição ativa nas construções de suas imagens. Assim, Uma africana no Louvre surge como adaptação de uma conferência ministrada no Instituto Warburg, em Londres, no dia 24 de janeiro de 2018, que toma forma também a partir de suas pesquisas a respeito da arte francesa dos séculos XVIII e XIX em sua ligação com o mundo atlântico.

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Cerman, Jérémie. "Le dossier photographique de la société Maurice Dufrène et Cie (1912-1921), 22, rue Bayard, Paris." Source(s) – Arts, Civilisation et Histoire de l’Europe, no. 19 (October 1, 2022): 133–52. http://dx.doi.org/10.57086/sources.549.

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Débutant sa carrière à l’époque de l’Art nouveau avant de devenir l’un des décorateurs prépondérants de l’Art déco, Maurice Dufrène exerce son activité de 1912 à 1921 dans le cadre d’une société, la Maurice Dufrène & Cie, installée dans un hôtel particulier du 22, rue Bayard à Paris, dont il dessine la façade et où il aménage ses showrooms. Bien que cette étape de sa carrière soit particulièrement féconde, l’histoire de cette entreprise a passablement été oubliée. Le contenu d’un dossier constitué en 1918 par le Casier archéologique et artistique de la Ville de Paris constitue l’une des rares sources visuelles à ce sujet. L’étude de ces documents, croisés à d’autres sources éparses, permet de faire revivre l’activité de Dufrène à cette époque.

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Bazin, Germain. "Nouveaux aménagements du département des peintures au Musée du Louvre, Paris." Museum International (Edition Francaise) 8, no. 1 (April 24, 2009): 11–23. http://dx.doi.org/10.1111/j.1755-5825.1955.tb00192.x.

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de Champs Léger, Hélène, Hélène Lelong, Isabelle Lesage, Hélène Tuau, Fabienne Haus, Benoit Durel, Danielle Torchin, Gil Chicheportiche, and Jacques Blacher. "Reflections on the Medical Treatment of Socially Vulnerable Patients: The Paris Hôtel-Dieu Experience." Culture, Medicine, and Psychiatry 38, no. 1 (February 7, 2014): 77–82. http://dx.doi.org/10.1007/s11013-014-9364-0.

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Tessier, Luc. "La conduite des grands projets de l’État à Paris." Revue française d'administration publique 54, no. 1 (1990): 223–28. http://dx.doi.org/10.3406/rfap.1990.2342.

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Supervising Large-Scale Projects in Paris In 1982, nine large-scale projects («the President’s construction sites») were undertaken or confirmed by the President of the French Republic in Paris : Grand Louvre, Opéra de la Bastille, Grande Arche de la Défense, etc. This program was achieved in the time allowed without exceeding the initial budget by more than 5 %. The coordination for these projects was the responsibility of an interministerial mission assigned to a specific ministry. These projects are managed by independant project directors (working for public «establishments», joint venture companies, foundations, etc.). Flexible programming, conception and follow-up procedures ensure maximum effectiveness in the achievement of objectives.

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Ebeling, Jörg. "The library of the Deutsches Forum für Kunstgeschichte." Art Libraries Journal 30, no. 4 (2005): 20–25. http://dx.doi.org/10.1017/s0307472200014206.

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The Centre allemande d’histoire de l’art/Deutsches Forum für Kunstgeschichte in Paris (DFK), founded in 1997, is a research institute dedicated to German research on French art and culture. Located in the historic centre of Paris on the place des Victoires, near to the Louvre and the recently founded French Institut national d’histoire de l’art (INHA), its further task is to promote interest among French scholars in research on German art and cultural history. To support its major fields of activity, the DFK is creating a library devoted to German art and cultural history, which now comprises some 60,000 items.

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Phan, Michel. "Innovation de services : Étude de cas du Plaza Athénée Paris." Décisions Marketing N° 48, no. 4 (August 1, 2007): 9–19. http://dx.doi.org/10.3917/dm.048.0009.

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L’hôtel Plaza Athénée à Paris est internationalement reconnu pour ses innovations de service, tant par ses clients que par les professionnels du secteur. Cependant, ce modèle d’innovation correspond-il aux autres modèles de la littérature académique ? Sinon, en quoi serait-il différent ? Cet article détaille le résultat d’une série d’entretiens approfondis menés avec l’équipe dirigeante, les employés, les fournisseurs et les clients de l’hôtel sur les facteurs clés de succès de son processus d’innovation. Les secrets de ce processus, lui-même innovant pour le secteur de l’hôtellerie française, s’articulent autour de cinq facteurs clés : une stratégie d’innovation bien ancrée dans les valeurs institutionnelles de l’hôtel, une équipe dirigeante charismatique et motivante, une structure organisationnelle et des mécanismes de support appropriés, une « famille » d’employés fortement motivés, et une communication ouverte et directe. Lorsque ces thèmes sont mis en regard de la littérature académique sur l’innovation de service, « la famille d’employés très motivés » apparaît alors comme un facteur nouveau. Enfin des enseignements seront proposés aux lecteurs. « Il était une fois le palace de demain. » Hôtel Plaza Athénée, Paris.

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Nacéra, Benseddik. "Histoire coloniale. Les tribulations des collections archéologiques de l'Algérie." Libyan Studies 50 (April 23, 2019): 165–77. http://dx.doi.org/10.1017/lis.2019.7.

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AbstractFrom the Musée Algérien established at the Louvre in Paris by Captain Delamare, to the Bibliothèque-musée created by A. Berbrugger in 1838 in the former Janissaries barracks in Algiers, to the short-lived Musée Africain, the archaeological collections of Algeria did not have a real museum space until 19 April 1897, when the Musée des Antiquités Algériennes et d'Art Musulman was inaugurated in the Parc de Galland (today the Parc de la Liberté). Independent Algeria placed the museum under the Ministère de l’éducation nationale until 1970, and then it was moved to the Ministère de l'information et de la culture, and the Musée Stéphane Gsell became the Musée National des Antiquités, financially autonomous in 1985 under the Ministère de la culture. Have the true missions of a museum been fulfilled? And what is the situation at the Louvre where only a few ancient Algerian works are now on display?

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Verba, Ericka Kim. "To Paris and Back: Violeta Parra's Transnational Performance of Authenticity." Americas 70, no. 02 (October 2013): 269–302. http://dx.doi.org/10.1017/s0003161500003242.

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In 1964, at what was surely the acme of her career, Violeta Parra became the first Latin American to have a solo show at the Louvre. During the five-odd weeks that her artwork was on display, Parra was at the museum every day. She chatted with visitors, put finishing touches on her tapestries, sang songs, played her guitar, served empanadas, and turned the exposition hall into a veritable Chilean ramada. The exhibit received favorable reviews in the press, and was visited by important dignitaries and a who's who of the Parisian and expatriate Latin American artistic community. Parra sold several of her tapestries, including one to the Baroness Rothschild. By all accounts, the show was a great success.

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Verba, Ericka Kim. "To Paris and Back: Violeta Parra's Transnational Performance of Authenticity." Americas 70, no. 2 (October 2013): 269–302. http://dx.doi.org/10.1353/tam.2013.0091.

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In 1964, at what was surely the acme of her career, Violeta Parra became the first Latin American to have a solo show at the Louvre. During the five-odd weeks that her artwork was on display, Parra was at the museum every day. She chatted with visitors, put finishing touches on her tapestries, sang songs, played her guitar, served empanadas, and turned the exposition hall into a veritable Chilean ramada. The exhibit received favorable reviews in the press, and was visited by important dignitaries and a who's who of the Parisian and expatriate Latin American artistic community. Parra sold several of her tapestries, including one to the Baroness Rothschild. By all accounts, the show was a great success.

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Bouchet, F. "Recovery of Helminth Eggs from Archeological Excavations of the Grand Louvre (Paris, France)." Journal of Parasitology 81, no. 5 (October 1995): 785. http://dx.doi.org/10.2307/3283976.

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O'Mahony, Claire I. R. "War within the Walls: Conflict and Citizenship in the Murals of the Hôtel de Ville, Paris." Journal of War & Culture Studies 6, no. 1 (February 2013): 6–23. http://dx.doi.org/10.1179/1752627212z.0000000002.

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35

Reynolds, Felisa Vergara. "Black bodies and French colonial history: Beyoncé and Jay Z’s ‘Apeshit’ at the Louvre." Journal of European Popular Culture 14, no. 2 (October 1, 2023): 157–64. http://dx.doi.org/10.1386/jepc_00061_1.

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In June of 2018, Beyoncé and Jay-Z (under the name The Carters) released the music video for their song ‘Apeshit’, from the album Everything Is Love, set in the Louvre Museum in Paris. Through an agreement with the Louvre, The Carters were given free rein to film in front of some of the most famous art pieces in the world. This article focuses on five instances, within the music video, where the juxtaposition between either The Carters and/or their dancers, and certain works of art, merits analysis within the French colonial and postcolonial context. Under consideration are the following scenes: first is the dance scene in front of David’s The Coronation of Napoléon (1807); the second is in front of the Great Sphinx of Tanis (2600 BCE); the third is in front of Géricault’s The Charging Chasseur (1812); the fourth is a scene in a locker room that pans to a bedroom (‘Apeshit’ 00:02:31–00:02:36); the fifth and final is ‘the hair-combing scene’ in front of DaVinci’s Mona Lisa. Each of these scenes speaks to pivotal moments in French colonial and postcolonial history, and through the analysis of the lyrics of the song and the historical context, I provide insight into the rich and deep meaning behind the specific art choices made by The Carters, within the Louvre, for their music video.

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Jasper, Alison. "Taking Sides on Severed Heads: Kristeva at the Louvre." Text Matters, no. 4 (November 25, 2014): 173–83. http://dx.doi.org/10.2478/texmat-2014-0012.

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The theorist and philosopher Julia Kristeva is invited to curate an exhibition at the Louvre in Paris as part of a series-Parti Pris (Taking Sides)- and to turn this into a book, The Severed Head: Capital Visions. The organiser, Régis Michel, wants something partisan, that will challenge people to think, and Kristeva delivers in response a collection of severed heads neatly summarising her critique of the whole of western culture! Three figures dominate, providing a key to making sense of the exhibition: Freud, Bataille, and the maternal body. Using these figures, familiar from across the breadth of her work over the last half a century, she produces a witty analysis of western culture’s persistent privileging of disembodied masculine rationality; the head, ironically phallic, ironically and yet necessarily severed; the maternal body continually arousing a “jubilant anxiety” (Kristeva, Severed Head 34), expressed through violence. Points of critique are raised in relation to Kristeva’s normative tendencies-could we not tell a different story about women, for example? The cultural context of the exhibition is also addressed: who are the intended viewers/readers and whose interests are being served here? Ultimately, however, this is a celebration of Kristeva’s tribute to psychic survivors.

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Lawrence Larkin, T. "Marie-Antoinette and the Image of Moral Instruction." Zeitschrift für Kunstgeschichte 86, no. 3 (September 1, 2023): 368–405. http://dx.doi.org/10.1515/zkg-2023-3005.

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Abstract Long attributed to François-Hubert Drouais or his atelier, a three-quarter length portrait of Marie-Antoinette, together with a curiously inscribed frame, displayed in the lobby of the Hôtel Le Bristol, Paris, serves as a pretext for reconstructing the queen’s practice of gifting portraits of herself to members of her chapel. This essay explores Marie-Antoinette’s tendency in the early part of her reign to entrust the production of portraits to the Cabinet des tableaux. It argues on the basis of stylistic analysis that the Le Bristol portrait was probably the work of Jean-Martial Frédou and on the basis of iconographical analysis that it accommodated the quarrel between philosophes and clerics over reform of the Catholic Church in France, which made it suited to Monsignor du Chilleau, Bishop of Chalon.

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Soares, Bruno César Brulon. "O gosto pela autoridade e a autoridade do gosto: as apropriações culturais nas ‘artes primeiras’." Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas 10, no. 1 (April 2015): 169–86. http://dx.doi.org/10.1590/1981-81222015000100009.

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Os atores responsáveis por introduzir as ‘artes primeiras’ nos museus e no mercado do Ocidente não são, com efeito, os mesmos que as produziram e, com frequência, não falam em nome dos interesses de seus produtores. Na presente análise, investigou-se a primeira exposição do Musée du Quai Branly, inaugurada no ano 2000, em uma ala do Musée du Louvre, em Paris. Na apresentação desses objetos nesse novo contexto, Jacques Kerchache, o principal idealizador do projeto, não deu espaço para visões dissonantes sobre as obras selecionadas. São visíveis, na exposição do Louvre, algumas das mais evidentes contradições sobre as ‘artes primeiras’. Os critérios que presidem a musealização das esculturas primitivas expostas mostraram a impossibilidade de se isolar, no seio dessa estética particular, a conotação antropológica. O artigo aqui proposto não tem como objetivo discutir a inspiração dos primeiros criadores desses objetos no momento em que conceberam e realizaram a sua obra, mas busca questionar se as suas intenções podem ser descartadas impunemente em função da musealização desses objetos no contexto europeu, entendendo como se dá esse processo segundo uma perspectiva sociológica.

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Cruse, Mark. "The Louvre of Charles V: Legitimacy, Renewal, and Royal Presence in Fourteenth-Century Paris." L'Esprit Créateur 54, no. 2 (2014): 19–32. http://dx.doi.org/10.1353/esp.2014.0021.

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Goulet, Andrea. "Le soleil naît derrière le Louvre: Malet, Surrealism, and the Modern Explosion of Paris." L'Esprit Créateur 54, no. 2 (2014): 141–58. http://dx.doi.org/10.1353/esp.2014.0026.

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Pernaud, Jean-Marie. "L'interprétation paléoécologique des charbons concentrée dans les fosses-dépotoirs protohistoriques du Carrousel (Louvre, Paris)." Bulletin de la Société Botanique de France. Actualités Botaniques 139, no. 2-4 (January 1992): 329–41. http://dx.doi.org/10.1080/01811789.1992.10827111.

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Pauwels, Yves. "Athènes, Rome, Paris : la tribune et l’ordre de la Salle des Caryatides au Louvre." Revue de l'art N° 169, no. 3 (March 1, 2010): 61–69. http://dx.doi.org/10.3917/rda.169.0061.

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Liautard, Marc, Céline Deguette, Elizabeth Alcaraz, Hélène Diot, Patricia Vasseur, Charlotte Gorgiard, and Laurène Dufayet. "Male Victims of Rape: An Observational Study over Four Years in Paris, France." International Journal of Environmental Research and Public Health 19, no. 21 (October 26, 2022): 13909. http://dx.doi.org/10.3390/ijerph192113909.

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Sexual violence is a common and under-reported form of violence that affects all categories of individuals. We sought to provide epidemiological data on men aged 15 years and over, victims of rape or suspecting a rape, and who reported it to the police. We conducted a retrospective study at the Department of Forensic Medicine of Hôtel-Dieu, Paris, France, between 2018 and 2021. Two-hundred men were included in the study, with an average age of 28.8 years. A vulnerability was mentioned for 17.5% of them. Most of the patients reported anal penetration, committed by a single male assailant, whom they met on the day of the assault. More than 60% of the patients reported the voluntary consumption of alcohol and/or illicit substances prior to the assault. Most patients were examined shortly after the assault (median 1 day). Anal lesions were found on examination in 37.0% of patients reporting anal penetration regardless of the time frame. The presence of anal lesions was statistically higher when patients were examined within 48 h. Our results reinforce the data in the literature on the risk factors associated with sexual violence among men, notably the consumption of alcohol and illicit substances, and psychological, economic, and social vulnerability.

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Ribeiro, Maria Eurydice de Barros. "As batalhas de Utello. O olhar do tempo. Olhar da história." Antíteses 9, no. 17 (September 6, 2016): 55. http://dx.doi.org/10.5433/1984-3356.2016v9n17p55.

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O artigo buscou contextualizando As batalhas ( Batalha de São Romano) de Ucello na Florença do Quatrocento, compreender a importância da pintura para a sociedade local. Procurou-se discutir o histórico do tlíptico, tomando como base alguns dados disponíveis e a historiografia.Do ponto de vista teórico, estabeleceu-se o diálogo com historiadores e historiadores da arte. Considerando a dispersão do tlíptico, atualmente nos museus de Ofícios (Florença) Galeria Nacional (Londres) e Louvre ( Paris), tentou-se compreender o olhar da época de execução da obra, a mudança de proprietário e que olhares podem ser identificados nas instituições em que se encontram atualmente.

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Schoevaert-Brossault, Jean. "Exposition des Holbein du Louvre présentée à Paris du 17 janvier au 15 avril 1985." Moreana 22 (Number 87-8, no. 3-4 (November 1985): 135–48. http://dx.doi.org/10.3366/more.1985.22.3-4.35.

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Hayot, Denis. "Une nouvelle vision du rapport entre le Louvre et l’enceinte de Philippe Auguste à Paris." Bulletin Monumental 171, no. 1 (2013): 3–10. http://dx.doi.org/10.3406/bulmo.2013.9518.

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Pepe, C., and P. Dizabo. "Étude d'une fosse du 13ème siècle par les marqueurs biogéochimiques : chantier archéologique du Louvre (Paris)." Revue d'Archéométrie 14, no. 1 (1990): 23–28. http://dx.doi.org/10.3406/arsci.1990.879.

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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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Perdicoyianni-Paléologou, Hélène. "Philibert Joseph Roux (1780–1854)." Journal of Medical Biography 19, no. 4 (November 2011): 157–60. http://dx.doi.org/10.1258/jmb.2010.010057.

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Philibert Joseph Roux (1780–1854), a French surgeon, was a student and friend of Marie Xavier François Bichat, the father of modern pathology and histology. He was assigned as a surgeon to the Hôpital Beaujon (1806), the Hôpital de la Charité (1810) and to Hôtel-Dieu de Paris (1835), where he succeeded to Guillaume Dupuyrten, a French anatomist, as a Chief Surgeon. Roux is best known for having performed the surgical repair of a cleft palate and for having been the first surgeon to stitch a ruptured female perineum. His contribution to surgery has also included the publication of Quarante années de pratique chirurgicale. Roux was awarded the grade of Chevalier of the National Order of the legion of Honor and that of Officer. He also served as a President of the Academy of Sciences. He died of a stroke on 3 March 1854.

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Davies, Helen M. "Living with asthma in 19th-century France: The doctor, Armand Trousseau, and the patient, Emile Pereire." Journal of Medical Biography 28, no. 1 (January 26, 2018): 15–23. http://dx.doi.org/10.1177/0967772017741763.

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Major advances in the French medical system following the French Revolution have stimulated a rich historiography of which Michel Foucault’s Naissance de la clinique: une archéologie du regard médical (1963) and Erwin H. Ackerknecht’s Medicine at the Paris Hospital, 1794–1848 (1967) are of lasting significance. Changes in the organisation and structure of hospitals accompanied the development and availability of new medical technologies and procedures and encouraged a more intense study of the aetiology and pathology of disease. Theories about asthma and its treatment profited from this dynamic environment as Classical Greek doctrines about the effect of the humours on bodily imbalance gave way to an increasingly more precise understanding of the nature and cause of asthma. The clinician and teacher, Armand Trousseau (1801–1867), who held the chair of Clinical Medicine at the Hôtel-Dieu in Paris and was himself an asthmatic, promoted new theories about the illness and developed innovative ways of dealing with its effects. Among his patients was the banker and financier, Emile Pereire (1800–1875), a lifelong asthmatic. Based on the Pereire Family Archives (hereafter AFP), the case of Emile Pereire provides a preface to the later case of that other, more famous, asthmatic, Marcel Proust.

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