Journal articles: 'Musée royal de Mariemont'

1

Derriks, Claire. "Musée royal de Mariemont et marketing." Les cahiers de Mariemont 28, no. 1 (1997): 119–29. http://dx.doi.org/10.3406/camar.1997.1240.

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Desmette, Philippe. "Les autographes de Mariemont , Morlanwelz, Musée royal de Mariemont, 2008, 223 p. (Cahiers de Mariemont, 37-38)." Revue du Nord 386, no. 3 (October 1, 2010): V. http://dx.doi.org/10.3917/rdn.386.0673e.

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Fauquet, Joël-Marie, Malou Haine, and Joel-Marie Fauquet. "400 lettres de musiciens au musée royal de Mariemont." Revue de musicologie 82, no. 2 (1996): 372. http://dx.doi.org/10.2307/947142.

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Briguet, Marie-Françoise. "Une urne cinéraire étrusque au Musée royal de Mariemont." Les cahiers de Mariemont 22, no. 1 (1991): 6–21. http://dx.doi.org/10.3406/camar.1991.1081.

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Weber, Georges, Lucien Martinot, Jef Guillaume, Catherine Talon-Noppe, and Étienne Colas. "Analyse des bronzes chinois archaïsants du Musée royal de Mariemont." Les cahiers de Mariemont 28, no. 1 (1997): 66–92. http://dx.doi.org/10.3406/camar.1997.1230.

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Bruwier, Marie-Cécile. "Le service « Conservation et Inventaires » du musée royal de Mariemont." Les cahiers de Mariemont 30, no. 1 (2003): 9–11. http://dx.doi.org/10.3406/camar.2003.1147.

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Van Compernolle, Thierry. "La civilisation daunienne dans les collections du Musée royal de Mariemont." Les cahiers de Mariemont 17, no. 1 (1986): 24–57. http://dx.doi.org/10.3406/camar.1986.1040.

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Leblanc, Véronique. "Sept autographes de Félicien Rops conservés au Musée royal de Mariemont." Les cahiers de Mariemont 20, no. 1 (1989): 53–80. http://dx.doi.org/10.3406/camar.1989.1067.

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Docquier, Gilles. "Traces des Grands Hommes. La collection d’autographes du Musée royal de Mariemont." Les cahiers de Mariemont 37, no. 1 (2008): 157–84. http://dx.doi.org/10.3406/camar.2008.1314.

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Derriks, Claire. "Étude et restauration d’une statuette d’Isis en bronze au Musée royal de Mariemont." Les cahiers de Mariemont 17, no. 1 (1986): 6–23. http://dx.doi.org/10.3406/camar.1986.1039.

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SNELDERS, Bas, and Mat IMMERZEEL. "The Thirteenth Century Flabellum from Deir al-Surian in the Musée Royal de Mariemont (Morlanwelz)." Eastern Christian Art 1, no. 1 (January 1, 2004): 113–39. http://dx.doi.org/10.2143/eca.1.1.516944.

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Bourgoing, Daphné. "Le thème de l’ascension céleste sur un vase funéraire Han du Musée royal de Mariemont." Les cahiers de Mariemont 39, no. 1 (2010): 14–26. http://dx.doi.org/10.3406/camar.2010.1215.

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Day, David A., and Malou Haine. "400 lettres de musiciens au Musee royal de Mariemont." Notes 53, no. 2 (December 1996): 466. http://dx.doi.org/10.2307/900132.

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Docquier, Gilles. "Introduction à la collection d’autographes du Musée royal de Mariemont: histoire et devenir d’un patrimoine méconnu." Les cahiers de Mariemont 37, no. 1 (2008): 6–33. http://dx.doi.org/10.3406/camar.2008.1303.

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Sorgeloos, Claude. "Micheline de Bellefroid 1927-2008 , sous la direction de Bertrand Federinov et Marie-Blanche Delattre. Mariemont, Musée royal de Mariemont, 2011, 400 p., ill." Bulletin du bibliophile N° 355, no. 1 (January 1, 2012): 192–93. http://dx.doi.org/10.3917/bubib.355.0204.

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Galantaris, Christian. "Rénier Chalon alias Fortsas. Un érudit malicieux au mitan du xix e siècle. Édité par François de Callataÿ, Claude Sorgeloos. Morlanwelz (Belgique), Musée royal de Mariemont, 2008, 175 p., ill. (Monographies du Musée royal de Mariemont, 16)." Bulletin du bibliophile N° 352, no. 2 (January 2, 2010): 410–11. http://dx.doi.org/10.3917/bubib.352.0206.

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Hendrickx, Stan, Dirk Huyge, and Barbara Adams. "Le scorpion en silex du Musée royal de Mariemont et les silex figuratifs de l’Égypte pré-et protodynastique." Les cahiers de Mariemont 28, no. 1 (1997): 6–33. http://dx.doi.org/10.3406/camar.1997.1228.

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Bourgeois, Brigitte, Dominique Robcis, and Nathalie Balcar. "Ganôsis et réfections antiques de polychromie. Enquête sur le portrait en marbre «de Bérénice II» au Musée royal de Mariemont." Les cahiers de Mariemont 40, no. 1 (2016): 65–85. http://dx.doi.org/10.3406/camar.2016.1332.

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Verbanck-Piérard, Annie. "Les armes d’Achille : une évocation de l’Iliade sur un vase apulien du peintre de Baltimore au Musée royal de Mariemont." Les cahiers de Mariemont 40, no. 1 (2016): 148–71. http://dx.doi.org/10.3406/camar.2016.1337.

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Fontaine, Paul. "Rencontre inattendue entre Minerve, Hercule, Thétis et Éris. L’énigme du miroir étrusque Inv. B.206 du Musée royal de Mariemont." Les cahiers de Mariemont 40, no. 1 (2016): 174–80. http://dx.doi.org/10.3406/camar.2016.1339.

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Gersten, Tatiana. "La conservation-restauration des écrits musicaux : le cas de trois manuscrits autographes signés de la collection du Musée royal de Mariemont." Les cahiers de Mariemont 37, no. 1 (2008): 143–55. http://dx.doi.org/10.3406/camar.2008.1313.

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Dubois, Sébastien. "Les autographes relatifs à la Révolution belge de 1830 et aux débuts de l’indépendance de la Belgique au Musée royal de Mariemont." Les cahiers de Mariemont 37, no. 1 (2008): 55–63. http://dx.doi.org/10.3406/camar.2008.1306.

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Chaline, Jean-Pierre. "Maurice Van Den Eynde, La vie quotidienne de grands bourgeois au XIXe siècle, les Warocqué, Morlanwelz, Musée royal de Mariemont, 1989, 443 p., illustr., index." Annales. Histoire, Sciences Sociales 46, no. 4 (August 1991): 877–78. http://dx.doi.org/10.1017/s0395264900068876.

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Maës, Gaëtane. "Bertrand Federinov , Gilles Docquier et Jean-Marie Cauchies (éd.), À l’aune de ‘Nos Gloires’. Édifier, narrer et embellir par l’image (actes du colloque tenu au Musée royal de Mariemont, 9-10 novembre 2012), Monographies du Musée royal de Mariemont 20 – Cahiers du CRHiDI hors-série, Bruxelles, Presses de l’Université Saint-Louis – Bruxelles, 2015, 239 p." Revue du Nord 414, no. 1 (September 29, 2016): III. http://dx.doi.org/10.3917/rdn.414.0177c.

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Lavagne, Henri. "Bricault Laurent, Veymiers Richard, Amoroso Nicolas, Le mystère Mithra, plongée au cœur d’un culte romain, catalogue de l’exposition, Mariemont, Musée royal de Mariemont, 2021, 1 vol. 24 × 31, 576 p., fig. coul., ISBN : 978-2-930-46985-0." Revue archéologique 75, no. 1 (May 24, 2023): 172–73. http://dx.doi.org/10.3917/arch.231.0172.

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Ling, Roger. "THE BOSCOREALE PAINTINGS - A. Barbet, A. Verbanck-Piérard (edd.) La villa romaine de Boscoreale et ses fresques. Volume I: Description des panneaux et restitution du décor. Volume II: Actes du colloque international organisé du 21 au 23 avril 2010 aux Musées royaux d'Art et d'Histoire de Bruxelles et au Musée royal de Mariemont. Pp. 107 + 419, b/w & colour ills, b/w & colour pls. Arles/Morlanwelz: Éditions Errance/Musée Royal de Mariemont, 2013. Paper, €69. ISBN: 978-2-87772-469-2." Classical Review 65, no. 2 (September 3, 2015): 581–82. http://dx.doi.org/10.1017/s0009840x15001213.

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Leman-Delerive, Germaine. "Marie Demelenne et Gilles Docquier (dir.), Trésor ? / Trésor ! Archéologie au cœur de l’Europe. Ouvrage édité à l’occasion de l’exposition au Musée royal de Mariemont 10 mai-30 novembre 2014, Bruxelles 2014, 316 p. ISBN 978287457-073-5. Prix 24 €." Revue du Nord 408, no. 5 (July 7, 2015): VIII. http://dx.doi.org/10.3917/rdn.408.0281h.

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Faider-Feytmans, G. "La section d'archéologie régionale au musée de mariemont." Museum International (Edition Francaise) 6, no. 1 (April 24, 2009): 56–61. http://dx.doi.org/10.1111/j.1755-5825.1953.tb00124.x.

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Gazda, Elaine K., and Lynley J. McAlpine. "The ‘Villa of Publius Fannius Synistor’ at Boscoreale: putting it all together - ALIX BARBET et ANNIE VERBANCK-PIÉRARD (sous la direction de), LA VILLA ROMAINE DE BOSCOREALE ET SES FRESQUES. Volume 1. DESCRIPTION DES PANNEAUX ET RESTITUTION DU DÉCOR, par É. Dubois-Pelerin, avec la collaboration d’ A. Barbet, F. Ory, A. Verbanck-Piérard et la contribution de F. Monier. Volume II. ACTES DU COLLOQUE INTERNATIONAL ORGANISÉ DU 21 AU 23 AVRIL 2010 AUX MUSÉES ROYAUX D’ART ET D’HISTOIRE DE BRUXELLES ET AU MUSÉE ROYAL DE MARIEMONT (éditions errance/Musée royal de Mariemont; Picard, Paris 2013). Boxed set: vol. I, pp. 107, figs. (colour) 56; planches de restitution 34; vol. II, pp. 415, figs. 187 of which many in colour; planches 18. ISBN 978-2-87772-469-2. EUR 69." Journal of Roman Archaeology 28 (2015): 622–29. http://dx.doi.org/10.1017/s1047759415002834.

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Paulsen, Jørgen. "Le Musée royal de l‘Arsenal, Copenhague." Museum International (Edition Francaise) 14, no. 2 (April 24, 2009): 79–85. http://dx.doi.org/10.1111/j.1755-5825.1961.tb01570.x.

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31

Ming Peng, Chang. "Daphné Parée , Du rêve du collectionneur aux réalités du musée : l’histoire du musée de Mariemont (1917-1960) , Éditions de l’Université de Bruxelles, 2017." Revue du Nord 424, no. 1 (March 7, 2019): VII. http://dx.doi.org/10.3917/rdn.424.0255g.

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32

Seiderer, Anna. "Réflexivité à l’œuvre. Performativité du « musée palais royal » d’Abomey." Civilisations, no. 71 (December 31, 2022): 85–111. http://dx.doi.org/10.4000/civilisations.7118.

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33

Malek, Jaromir. "The Royal Butler Hori at Northern Saqqâra." Journal of Egyptian Archaeology 74, no. 1 (August 1988): 125–36. http://dx.doi.org/10.1177/030751338807400110.

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Publication of a tomb-chapel of the reign of Ramesses IV excavated in the mid-1920s and recorded by Gunn (stela in Neuchâtel, Musée d'Ethnographie, Eg.428). Discussion of the plans of offering-rooms in Memphite New-Kingdom chapels, stelae found in such chapels, stelae set up for their masters by servants/retainers, the Royal Butler Hori, royal butlers in general (particularly those temp. Ramesses IV), Saqqara tomb-chapels of royal butlers, a characteristically Ramesside man-determinative.

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34

Bodnaruk, Mariana. "Two Early Christian Decorated Sarcophagi From Rome In The Bible Lands Museum Of Jerusalem: Authenticity, Provenance, Dating." Phoenix 77, no. 1-2 (March 2023): 131–56. http://dx.doi.org/10.1353/phx.2023.a926367.

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Abstract: The article aims at dispelling the repeatedly expressed assumption that two late Roman sarcophagi formerly in the Royal Ontario Museum in Toronto and now in the Bible Lands Museum in Jerusalem are forgeries. It analyses their epigraphy and iconography based on autopsy of the monuments and assesses arguments brought forward in the scholarly controversy regarding the authenticity, provenance, and dating of the two coffins. Réesumé: L'article vise à infirmer l'hypothèse maintes fois formulée selon laquelle deux sarcophages de l'époque romaine tardive, qui se trouvaient autrefois au Musée royal de l'Ontario à Toronto, et qui se trouvent désormais au Musée des Terres de la Bible à Jérusalem, sont des faux. Il réalise une analyse épigraphique et iconographique de ces monuments par examen autoptique et évalue également les arguments avancés dans le débat scientifique concernant l'authenticité, la provenance, et la datation des deux cercueils.

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Claes, Marie-Christine. "Marcellin Jobard et le Musée royal de l’Industrie de Bruxelles." Artefact 5, no. 5 (June 15, 2017): 59–75. http://dx.doi.org/10.4000/artefact.630.

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Perrot, Claude-Hélène. "Un musée royal au début du XIXe siècle en Ashanti : l'Aban." Cahiers d’études africaines 39, no. 155 (1999): 875–84. http://dx.doi.org/10.3406/cea.1999.1782.

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Gerö, László. "La restauration du Château royal de Budapest et l'aménagement d'un musée." Museum International (Edition Francaise) 22, no. 2 (April 24, 2009): 98–108. http://dx.doi.org/10.1111/j.1755-5825.1969.tb01340.x.

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Coombs, Bryony. "The tapestries of St Anatoile (1502–1506): Burgundian perceptions of a ‘Scottish’ saint and the royal house of Scotland at the turn of the sixteenth century." Innes Review 70, no. 1 (May 2019): 1–35. http://dx.doi.org/10.3366/inr.2019.0200.

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The town of Salins-les-Bains, France, is renowned for its historic salt-works. During the period 1502–1506 the canons of the collegiate church there commissioned an extraordinary series of fourteen tapestries commemorating the life and miracles of Saint Anatoile. Three of the tapestries are preserved in Paris at the Musée du Louvre, and documents survive recording the original programme of all fourteen tapestries. Of great interest is the stress laid on the Scottish origin of Saint Anatoile, who is described in the tapestries as ‘fils du roi d'Escoce’ (‘son of the king of Scotland’). The importance of the saint's Scottish royal pedigree is visually emphasised by the prolific inclusion of the royal arms of Scotland: on one of the surviving tapestries the arms appear eleven times. What this commission tells us of early sixteenth-century Burgundian attitudes to Scots, the royal house of Scotland, and Scottish royal piety is here examined.

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Hryhorevska, Olena. "Book Museums of the Kingdom of Belgium as a Space of Socio-Cultural Communication." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 19–28. http://dx.doi.org/10.31866/2410-1915.24.2023.287655.

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The aim of the article is to analyse the features of the development of socio-cultural space of two well-known book museums in the Kingdom of Belgium: the Royal Library of Belgium and the Wittockiana Museum; to focus on the methods of promoting the collections that form the basis of the museum holdings, information services, and educational programmes. Results. The Royal Library of Belgium is defined as a unique high-tech socio-cultural space where the cultural life of medieval Europe is explored through images, histories, and characters from the Library of the Dukes of Burgundy. The analysis of the museum’s website and blog materials leads to the conclusion that the national library takes its communication with user audiences very seriously. The Wittockiana is a museum of book art and bookbinding and an organiser of projects. The museum engages in diverse exhibitions, research, and educational activities. An interesting component of the museum’s socio-cultural space is the bookbinding workshop, which serves as a basis for educational projects. The scientific novelty of the study is that for the first time in the Ukrainian scientific discourse, the development of the socio-cultural space of contemporary European museums is considered using the example of the book museums of the Kingdom of Belgium. Conclusions. The successful formation and development of the socio-cultural space of contemporary European book museums is largely the result of persistent and multifaceted research activities of such institutions. The Royal Library of Belgium is a vivid example of the development of the “media” concept of a museum as a socio-cultural institution. The museum’s socio-communication space is developing in many areas, including the expert environment and public relations. The educational services of the Wittockiana Museum and the partner book workshop of the Royal Museum of Mariemont are considered as an experience worthy of in-depth study and implementation in Ukraine.

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Roger, Aurélie. "D’une mémoire coloniale à une mémoire du colonial. La reconversion chaotique du Musée Royal de l’Afrique Centrale, ancien musée du Congo Belge." Cadernos de Estudos Africanos, no. 9/10 (June 1, 2006): 43–75. http://dx.doi.org/10.4000/cea.1207.

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Creemers-Palmers, Magda. "De Oude Fotodokumentatie Over Rwanda in het Museum van Tervuren." Afrika Focus 8, no. 2 (February 2, 1992): 105–29. http://dx.doi.org/10.1163/2031356x-00802003.

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The ‘Ancient’ Rwanda Photo-Documentation in the Museum of Tervuren In september 1989 the ‘Musée national du Rwanda’ was inaugurated in Butare (Rwanda). Construction and arrangement of the Museum were completed by the ‘Musée royal de l’Afrique centrale’ of Tervuren. For this occasion, Tervuren started to collect an ‘ancient’ photo-documentation of Rwanda, to supply the new Rwanda-Muséum with pictorial sources. Public as well as some private collections were gathered so that a final selection could be done. Up till now this photo-documentation is still kept in the Muséwn of Tervuren. For the sake of the historical research about Rwanda, our final purpose is, in co-operation with the Rwanda-Muséum, to complete and to gather as much the photographic evidence as possible. Moreover, these sources need to be identified and described; only future and elaborated research will reveal more data about this important photographic documentation.

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Charlier, Philippe. "Volper Julien (éd.), 2018, Art sans pareil. Objets merveilleux du Musée royal de l’Afrique centrale." Journal des Africanistes, no. 89-1 (October 1, 2019): 205–6. http://dx.doi.org/10.4000/africanistes.7981.

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Laloy, Ophélie. "Décentrer le regard, décoloniser les pratiques. Une aventure muséographique au Musée royal de l’Afrique centrale." Culture & musées, no. 28 (December 1, 2016): 235–37. http://dx.doi.org/10.4000/culturemusees.900.

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Bazinet, Geneviève B. "The Musical Encart of the Royal Printers Le Roy & Ballard in the 1583 Hours of Jamet Mettayer Held in the Musée de l’Amérique francophone in Quebec City." Renaissance and Reformation 39, no. 4 (April 5, 2017): 253–83. http://dx.doi.org/10.33137/rr.v39i4.28165.

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The Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, printed at the request of King Henri III by Royal Printer Jamet Mettayer (Paris, 1583) and held at the Musée de l’Amérique francophone in Quebec City, is a rare example of a Book of Hours that contains music. The musical encart printed by the Royal Printers of Music Le Roy & Ballard (Paris, 1583) follows the texts of the Hours and totals thirty-six pages. This article focuses on the music in the encart and its relationship to the rest of the book, and on references to music in the statutes of the Congrégation. The musical encart is an essential part of this Book of Hours as it provides music for the Hours of the Virgin and the other offices celebrated by the Congrégation, as well as insight into their musical performance practices. Les Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, imprimées à la demande du roi Henri III par l’imprimeur royal Jamet Mettayer (Paris, 1583) et conservées au Musée de l’Amérique francophone dans la ville de Québec, sont un exemple rare d’un livre d’Heures contenant de la musique. L’encart musical imprimé par les Imprimeurs royaux en musique Le Roy et Ballard (Paris, 1583) suit le texte des Heures et compte trente-six pages. Cet article porte sur la musique de l’encart, ainsi que les références à la musique dans les statuts de la Congrégation. L’encart musical est une partie essentielle de ce livre d’Heures puisqu’il comprend la musique des Heures de la Vierge et des autres offices célébrés par la Congrégation, et ouvre une fenêtre sur les esthétiques d’interprétation de la Congrégation.

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Bernstein, Margot. "See Sharp: Discord across Portraits of the Mozart Family Attributed to Carmontelle." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 92–112. http://dx.doi.org/10.5325/ninecentstud.33.0092.

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Abstract Louis Carrogis called Carmontelle was a French amateur draftsman whose association with the royal Orléans court in the final decades of the ancien régime afforded him direct access to Enlightenment luminaries, celebrities, and elites. Carmontelle created a well-known triple-portrait drawing of Leopold, Maria Anna, and Wolfgang Amadeus Mozart during the family’s 1763–64 stay in France. Four museums—two in France and two in the United Kingdom—claim to count autograph versions of this triple portrait (in other words, in Carmontelle’s own hand) among their collections. Close examination of these triple portraits—in the collections of the Musée Carnavalet in Paris, the Musée Condé in Chantilly, the British Museum in London, and Castle Howard in Yorkshire—reveals, however, that three of these four works are not autograph drawings by Carmontelle. In fact, one of these three sheets is not a drawing at all. This essay examines the origins of these misattributions and some of the reasons for their perpetuation. More broadly, it cautions against accepting prestigious provenances at face value and demonstrates the value of close, prolonged looking and careful comparative analysis.

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Van Bockhaven, Vicky. "Les Congolais obtiendront-ils la restitution qu’ils demandent?" Afrika Focus 35, no. 1 (June 30, 2022): 190–98. http://dx.doi.org/10.1163/2031356x-35010011.

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Abstract Ce rapport évalue la politique belge visant à restituer au Congo les objets spoliés du Musée royal de l’Afrique centrale et qui s’appuie sur la recherche de provenance. Si la volonté politique de restituer est un jalon historique, cette approche, avec la restitution comme objectif final, ne tient pas compte des besoins des communautés du patrimoine. Dans le nord-est du Congo, la population exprime un sentiment complexe de perte autour de ce patrimoine, car l’administration coloniale a appris à considérer leur culture comme inférieure, tandis que les objets rituels qui servaient à protéger la communauté étaient enlevés. Les gens y voient une perte de pouvoir qui explique l’état économique et politique précaire du Congo, alors que la Belgique a prospéré, une vision qui est fortement sous-estimé en Occident. Plus fort que la demande de restitution, il y a la demande de solutions régionales qui permettent de renouer avec sa propre culture et son histoire. Un changement dans la politique belge est nécessaire, avec un accent sur le travail de mémoire et de réparation ensemble avec les communautés patrimoniales, plutôt que sur la recherche de provenance dans un musée belge.

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Halen, Pierre. "Ceyssens Rik. — De Luulu à Tervuren : la collection Oscar Michaux au Musée royal de l’Afrique centrale." Cahiers d'études africaines, no. 244 (November 29, 2021): 920–23. http://dx.doi.org/10.4000/etudesafricaines.35927.

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Williford, Christa. "A Computer Reconstruction of Richelieu's Palais Cardinal Theatre, 1641." Theatre Research International 25, no. 3 (2000): 233–47. http://dx.doi.org/10.1017/s0307883300019696.

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A small, anonymous grisaille(Figure 1)from the collection of the Musée des Arts Décoratifs in Paris is among the more familiar images of seventeenth-century French theatre history. It depicts Cardinal Richelieu, Louis XIII, and other members of the royal family at the theatre. The setting for the scene is the Grande Salle of Richelieu's Parisian home, the Palais Cardinal. Designed by the palace architect Jacques Lemercier and completed in 1641, this theatre was among the first purpose-built proscenium theatres in France. In the 1660s it became the site of the public performances of Molière's most successful plays; after the playwright's death, it housed the Paris Opéra until a fire destroyed it in 1763.

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Ghindă, Luciana Florentina. "Le Royaume de Dahomey, une page d’histoire du patrimoine béninois au Musée du Quai Branly." Revista CICSA online, Serie Nouă, no. 3 (2017): 89–96. http://dx.doi.org/10.31178/cicsa.2017.3.7.

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In 2016, the Benin government expresses the request in an official letter to the French state to return the royal objects belonging to the Kingdom of Dahomey (XVII-XIXth century), taken as "trophy of war " in 1892 following its conquest by French general Alfred Dodds. At the beginning of March 2017, the French Ministry of Foreign Affairs gave an unfavorable response to the request for the return of Benin heritage, motivating the fact that France ratified the UNESCO Convention in 1970. According to the law, these are already part of the French public domain subject to the principles of inalienability. For the present study, an ax will be led to bring into discussion the conventions of the internationals organizations regarding cultural goods, and also on the analysis of press articles.

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Byram, Jennifer, and Megan A. Baker. "Museums and Renewed Relations: Choctaw-French Nations of the Eighteenth Century and Present." Collections: A Journal for Museum and Archives Professionals 18, no. 1 (March 2022): 59–68. http://dx.doi.org/10.1177/15501906211073096.

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In a recent exhibit, the Choctaw Nation of Oklahoma, Musée du quai Branly-Jacques Chirac, and Bibliothèque Municipale de Versailles worked together to learn more about the museum’s royal Americas collection which features items from numerous Indigenous communities. Collected by French explorers during the eighteenth century and later displayed in royal curiosity cabinets, these items have not been seen by Choctaw communities since they left the continent. This collaboration has culminated in the “La Curiosité d’un Prince” exhibit, which features a room curated by Choctaw Nation. This article shows how a joint initiative to study the collection gave voice to the relationships and material histories inherent in the items. Reflecting on this less-known historical period, this collaboration has reinvigorated Choctaw-French relations and allowed Choctaw Nation to showcase the richness and complexity of its sovereignty—which is often narrowly understood through its relationship with the United States. By providing an example of true collaboration that has spurred new research and writing on both the cultural and political knowledge contained in the objects held in France, we demonstrate the potential for relationships and knowledge inherent in museum collections to act as a platform for new expressions of Indigenous sovereignty.

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Journal articles on the topic 'Musée royal de Mariemont'

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