La mise en tourisme du patrimoine paysager de la Vallée des peintres entre Berry et Limousin : un levier de développement rural ? by Edwige Garnier, Frédéric Serre

“…The purpose of the article is to examine both the process of heritage development in the Valley of the Painters and the economic and territorial benefits of development initiatives.…”
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Mary Colter au Grand Canyon ou l’invention d’un paysage by Patrick Pérez

“…For it to become an admired landscape embedded in the practise of tourism, a shared aesthetic perception needed to be built. Scientists, painters, and photographers were the artisans of the first taming of this landscape. …”
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Le récit mythique d’une conversion : La Argentina à l’Athénée de Madrid by Hélène Frison

“…That evening, while she performed at the Athenaeum in Madrid in front of "intellectuals, painters, writers, poets, musicians," a double shift took place: while the spectators experienced a kind of epiphany of the dance, she became aware of what her priesthood would be from then on - to embody "the spirit of the Spanish dance". …”
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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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Camillo e Giulio Cesare Procaccini per i governatori spagnoli a Milano: alcuni episodi di committenza e collezionismo by Odette d'Albo

“…Camillo (1561-1629) and Giulio Cesare Procaccini (1574-1625) were two of the most important painters in Milan at the beginning of the 17th century, when Lombardy was under Spanish control. …”
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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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Se souvenir du tribun et de l’apôtre. John Ruskin par son traducteur Émile Cammaerts (1878-1953) by Julie Lageyre

“…Between 1906 and 1916, he published for instance the translations of Lectures on Architecture and Painting (1910), Val d’Arno (1911) and a section of the Modern Painters (1914). Cammaerts searched for a balance between the correct transposition of John Ruskin’s writings and the required adjustments for a Francophone audience. …”
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Une constellation invisibilisée by Marie-Dominique Gil

“…If she has remained famous for her literary work, her artistic practice and correlatively the transmission strategies that she organized specifically for young women sculptors, painters or even videographers have remained in the shadows. …”
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Le Paysage, le style, et la modernisation agricole : la vallée de l’Orne dans Bouvard et Pécuchet by Grant Wiedenfeld

“…This consideration of literary landscapes then leads to a comparison with nineteenth century French landscape painters in the final part of the article, where Charles Blanc’s comments on prosaic subjects and on style’s connection to the ideal animate our abstract comparison.…”
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Cosmopolitan impressions from a contemporary Bengali patachitra painting museum collection in Portugal by Inês Ponte

“…Focusing particularly on the recent development of women as painters and performers of the patua folk craft in an expanded market, through a study of the acquisition of a patachitra collection by the Ethnology Museum in Lisbon, I explore the cosmopolitan impressions in the work of such women from the village of Naya. …”
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La Vision artistique de la montagne : panorama, pli ou plongée ? by Marie-Madeleine Martinet

“…The undulations of uneven grounds provided motifs to represent folded spaces where diversity or surprise predominates over regularity; the reflections of these tormented shapes between glaciers became an object of scientific investigation, at the same time inspiring romantic landscape painters to find new shades of colour. Lastly, the vertical dimension, angled views and peaks, brought a new approach to perspective and the corresponding optical illusions.Mountains, a strange world, brought about inverted visual effects with the most irregular shapes prevailing over landscapes; and they were first studied in distant countries where their unusual appearance seemed less unexpected, before being discovered at home as an artistic subject…”
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Autoportraits photographiques américains : De la blancheur à l’ombre chez Alfred Stieglitz ; de la nudité au pastiche chez Lee Miller by Marie Cordié-Levy

“…For Stieglitz, overexposure implies a strategy to free photography from the influence of painters present in the pictorialist movement in order to create a self-determined medium. …”
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Du baromètre au piolet, cent cinquante ans de visions britanniques de la montagne by Michel Tailland

“…Throughout the XVIIIth and XIXth centuries, daring British travellers kept exploring and conquering mountain ranges up to then mostly "terra incognita Many of them, from William Brockedon, Edward Whymper, John Auldjo or Albert Smith not only wrote about them but also sketched or painted their landscapes thanks to their multi-faceted talents as writers, painters or engravers. This paper aims at analyzing the changes in the different points of view of a few generations of these artist/travellers who left an everlasting influence on contemporary visions of mountains. …”
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La Tentation de saint Antoine de Flaubert et Uspud d’Erik Satie : affinités secrètes et résonances en filigrane by Bruna Donatelli

“…La Tentation de saint Antoine triggered almost exclusively the painters’ interest, until the 1880s: they were fascinated by its implicit iconic appeal and visionary universe. …”
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El ave como cielo: la presencia del ave chan en las bandas celestes mayas by Rogelio Valencia Rivera, Daniel Salazar Lama

“…Due to the fact that some iconographic elements possess an inherent multivalued symbolic content (i.e. they are polysemic), sometimes the Maya painters or sculptors used writing to denote univocally the element they tried to represent. …”
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Theatrical Tectonics: The Mediating Agent for a Contesting Practice by Gevork Hartoonian

“…Exploring New Brutalism’s criticism of the established ethos of International Style architecture, the first part of this paper will highlight the movement’s tendency towards replacing the painterly with the sculptural, and this in reference to the contemporary interest in monolithic architecture. …”
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Better Than the Real Thing: Processed Reality in Victorian Art and Fiction by Béatrice Laurent

“…In the 1850s, strategies of aggregation were part of the regular compositional practice of Victorian painters, from the Pre-Raphaelite William Holman Hunt to William Powell Frith. …”
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The Texture and Color Matching of Oil Painting Materials Based on Multimedia Visual Communication by Feng Wang, Haozhang Sun

“…The experimental results show that the texture and color matching of oil painting creation materials based on multimedia visual communication are more popular with the public, and oil painters are also satisfied with this method. And, the expressiveness of oil painting texture has been improved by 10%. …”
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Proust’s Ruskin: From Illustration to Illumination by Emily Eells

“…My argument here is that Proust appropriated those two illustrations and transformed them into illuminations, in the sense that Ruskin gave to that term in Modern Painters.…”
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Framing the Land: Canadian Landscapes Revisited in Jin-me Yoon and Lorraine Gilbert’s Photography by Gwendolyne Cressman

“…While the photographers engaged in geographical and topographical expeditionary missions envisioned the land as the epitome of the sublime landscape, the Group of Seven painters of the 1920s and 1930s later sought to express the essence of Canada’s northern identity through the celebration of a mythical wilderness. …”
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