L’Antiphonaire d’Oosteeklo et son enlumineur (Cornelia van Wulfschkercke ?) by Dominique Vanwijnsberghe

“…Moreover, the historiated initials can be related to a documented artist: the celebrated Cornelia van Wulfschkercke, Carmelite of the Sion convent in Bruges, to whom an important body of works has been attributed. …”
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Universal Typeface. Innovation without Style by Dario Russo

“…This school was animated by some of the most significant Twentieth-century artist-designers, from Gropius to Kandinskij, from Itten to Moholy-Nagy, not related to an unambiguous approach. …”
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Un réseau de sources : figures de l’araignée dans Madame Bovary et La Tentation de saint Antoine by Irene Zanot

“…An image that has crossed literature since Antiquity, the spider appears in Flaubert’s pages like a leitmotif that recurs in several scenes where it carries major meanings for the artist’s poetics. The author fully exploits the versatility of this animal, which, as Sylvie Ballestra-Puech has shown, acquires a negative value in the Western iconographic and literary tradition. …”
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Woven Identities: Socioeconomic Change, Women’s Agency, and the Making of a Heritage Art in Jølster, Norway by Sallie Anna Steiner

“…The article furthermore discusses the ways in which the forms and motifs associated with smettvev are being re-appropriated by local contemporary artists working in other mediums, as well as by individuals and institutions who see smettvev as a symbol of local identity and heritage.…”
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Faire voir l'Orient : réflexion sur un artifice victorien by Laurent Bury

“…Victorian Orientalism also implied a “re-orientalisation” of the Christian myth; artists as diverse as David Wilkie or William Holman Hunt were motivated by their quest for authenticity, even though the racist prejudice then prevalent had to be taken into account. …”
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Coda: The War of Poetry: Duncan’s Heresies by Michael Heller

“…The “war” in which he is a protagonist most often wrestling with himself but also with the cultural and political environment in which he writes, is to liberate form – not to choose one form over another – but to bring form to possibility, to express form as the creative artist’s fulfillment of “the law that he creates,” to see poetry’s “every freedom,” as leading toward human liberation. …”
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Le projet comme dispositif de vision du paysage by Sally Bonn

“…This desire results in a work of cutting or capture closed to the concept of device as certain artists practice it. The device of vision constitutes another form of frame and framing of the perception ; it directs and tends to control the systems of representation, vision and perception. …”
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Lire/voir The Ballad of Reading Gaol d’Oscar Wilde à la lumière de l’expressionnisme by Xavier Giudicelli

“…This article aims at studying the edition of The Ballad of Reading Gaol illustrated by German expressionist artist Erich Heckel in 1907, in order to examine the effects produced by the encounter between text and image in this edition. …”
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Archives vivantes by Marie Gautheron

“…During these interviews, the photographs, histories and museum records of everyday objects collected by the Dakar-Djibouti mission (1931-1933) were presented to artists, culture professionals, and users. As “living archives” of “ethnographic” objects conserved in museums, these films give a palpable sense of the impact of their disappearance (broken transmission, knowledge loss) and return some of their immaterial heritage immediately. …”
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Sculpture, sculpteurs et ateliers (?) à Chambéry et alentour (vers 1480-v. 1530) by Laurence Riviere Ciavaldini

“…The meticulous formal analysis of the sculptures led her to isolate a group of forty-five witnesses from workshops or itinerant artists produced in the Chambéry region. The commissioners of these works could be the officers of the ducal administration, living in Chambéry and the surrounding area, the city still being the administrative and political capital of the duchy of Savoy.…”
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70 anos da guerreira: a mestiçagem brasileira na tradução musical de Clara Nunes by Expedito Leandro Silva

“…Among the songs that best represent the artist portrayal are “Canto das Três Raças” and “Brasil Mestiço Santuário da Fé”, sang by her in the 1980s, the lyrics and interpretation showed the social Brazilian ethnological context in great detail. …”
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Vers une qualité sonore des espaces publics by Élise Geisler

“…Only few sustainable sound improvements in urban public spaces have been identified despite punctual interventions of artists. Sound environment is complex, experiences and references are lacking while the research has been trying for the last thirties years to develop tools and methods. …”
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Protocole d’errance d’une forme by Francesca Cozzolino, Coralie Maurin, Kristina Solomoukha

“…Designed by an anthropologist, an artist, and a filmmaker, this audio-visual narrative is built like a virtual trip through different groups of images in which different variants of the caracol are shown—a motif that, ranging from the representation of the snail shell to the spiral, embodies both the Maya past and the Zapatista ideals of the present. …”
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La matière des images dans The Duchess of Malfi by Anne-Valérie Dulac

“…The present paper explores the various types of painters and artists mentioned by John Webster in The Duchess of Malfi. …”
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The Iconic Word: The Theological and Rhetorical Sources of a New Ut Pictura Poesis by Anne-Marie Miller-Blaise

“…Written in a period following the iconoclast English Reformation and at a time when the humanist faith in the imitative powers of the artist was starting to splinter, their poetry substitutes a new form of visual materiality for the failing art of mimesis. …”
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Smugglers, Poachers and Wreckers in Nineteenth-Century English Painting by Christiana Payne

“…Turner, David Wilkie, Edwin Landseer and Charles Napier Hemy are amongst the artists discussed.…”
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Voir l’espace et dire le temps : le grand écart du discours esthétique victorien by Laurent Bury

“…While Henry James was offended by the “historicizing” reading of art works, John Ruskin usually wanted to find what came before and after the scene represented by the artist. Many Victorian painters thus tried to reconcile those two apparently incompatible dimensions of time and space, through all sorts of devices, juxtaposing canvases in order to create a more or less chronological series, resorting to polyptichs, adding titles which suggested a more literary apprehension of their work, etc. …”
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Le Tigre, le Louvre et l’échange de connaissances archéologiques visuelles entre la France et la Grande-Bretagne aux alentours de 1850 by Mirjam Brusius

“…When in the mid 1850s Assyrian sculptures excavated by a French delegation got lost in the river Tigris all what remained was a set of drawings that the London artist William Boutcher had made during a British expedition in Mesopotamia. …”
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À propos de la mallette pédagogique de la Ligue des Droits de l’Homme by Marie-Christine Vergiat

“…Deux de celles-ci, destinées aux élèves, comportent la photographie d’un grand artiste (Depardon, Ronis…) et des textes de référence illustrant un droit ainsi qu’un questionnaire. …”
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“Consummate Too Too”: On the Logic of Iconotexts Satirizing the “Aesthetic Movement” by Anne-Florence Gillard-Estrada

“…Finally, one intends to show the poetics at work in such iconotexts by studying those oft-recurring catchphrases that comically and yet creatively encapsulate the aesthetics and formula of life propounded by authors and artists of the Aesthetic Movement.…”
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