Sensualidad y Naturaleza. Mujer y Botánica en los paneles decorativos de Alfons Mucha

El presente trabajo analiza desde un punto de vista botánico los paneles decorativos, los cuales constituyen una de las mejores muestras de la estrecha relación mujer-vegetación en la obra de Alfons Mucha. Botánicamente hablando, mujer Mucha no es sinónimo de mujer flor. Y es que, el artista no sólo representa a sus féminas junto a estructuras reproductoras vegetales, sino que también las rodea de ramas, hojas, frutos e, incluso, de plantas enteras. Las representaciones vegetales que pueden encontrarse en los paneles tienen muchas veces una función simbólica y no meramente ornamental. Debido a que las flores conjugan erotismo y misticismo, no hay que descartar la posibilidad de que la representación de motivos florales en los paneles decorativos quizá tuviera como una de sus principales finalidades la de reforzar la ambigüedad de la mujer Mucha. Una mujer, voluptuosa a la par que espiritual, que se asocia ineludiblemente a la obra de este artista.This paper analyzes the decorative panels, which constitute one of the best examples of the close relationship woman-vegetation in the work of Alfons Mucha from a botanical point of view. Botanically speaking, Mucha’s women are not synonymous of flower women. And it is that, the artist not only represents its females with plant breeding structures, but also surrounds them with branches, leaves, fruits, and even entire plants. Botanical representations that can be found on the panels are often symbolic and not merely ornamental. Because the flowers combine eroticism and mysticism, the theory cannot be ruled out that perhaps one of the main purposes of the floral patterns was to reinforce the ambiguity of Mucha’s women. A woman, while voluptuous and spiritual, is inevitably associated with the work of this artist

From anarchism to state funding : Louis Lumet and the cultural paradoxes of the third republic

In 1896 Louis Lumet despised the state and openly yearned for a red Messiah to sweep away bourgeois culture and politics. By 1904 he was in the receipt of state fundin g. This article unravels the paradox of his trajectory by f ocusing on the common interest that eventually united his i nterests with those of republican governments: the relation ship between art and the people. Drawing on hitherto unknow n writings by Lumet himself, as well as on little-used arch ives, the article explores Lumet’s anarchist persona and co nnections in fin-de-siècle Paris, charts his involvement in the Théâtre d’Art Social and the Théâtre Civique, and exam ines his role in the state-supported Art pour Tous. The fin al discussion reveals areas of conflict and convergence in the perception of the people as political actors by both an archists and the state, raising questions about the theory and practice of cultural democratization

Petite chronique des théâtres

Transcript of PETITE CHRONIQUE DES THÉÂTRES, by anonymous author, appearing in LE FIGARO, 14 mars 1861, pp. 5-6

Divertir les deniers publics dans les villes franÇaises: etude sur le pedulat d'apres la dotrine juridique du XVIIIe siecle

Le péculat est «le crime de ceux qui ayant le maniement des deniers royaux ou du public, les retiennent et les tournent à leur usage particulier». Ces malversations portent atteinte aux finances de l’Etat comme à celles des villes, les municipalités étant victimes, comme le roi, de comptables peu scrupuleux. Il est intéressant de voir comment le divertissement des fonds municipaux est encadré par le droit criminel. Il faut aussi se demander quel regard les jurisconsultes portent sur des pratiques malheureusement courantes au XVIIIe siècle«Péculat» is the crime of embezzlement of public funds by those who are responsible for it. These abuses of public money damage the finances of the State as those of the cities. Municipalities are victims of dishonest accountants. It is interesting to explore the repressive measures concerning fraud and diversion of public funds. It is relevant to wonder what is the opinion of the jurists on unfortunately common practices in 18th centur

Co–Mn-oxide spinel catalysts for CO and propane oxidation at mild temperature

CoxMn3−xO4 oxides (0≤x≤3) were prepared by controlled decomposition of mixed oxalates near 200 ◦C, followed by a calcination at 300 ◦C. These oxides are amorphous for x < 0.9. For higher cobalt fraction they have a cubic spinel structure and their crystallite size grows with the cobalt fraction. These materials have a large surface area; the highest values, exceeding 250 m2/g, were obtained for x≈2. The spinel oxides exhibit an outstanding catalytic activity for propane oxidation at mild temperature (20–200 ◦C). They are also active for CO oxidation at ambient temperature. This high activity was correlated both with the surface area and the cobalt concentration. The most efficient material is Co2,3Mn0,7O4, which has a better activity than cobalt oxide catalysts reported in the literature