Structuring Deposit Insurance in Europe: Some Considerations and a Regulatory Game

The protection of savings and the creation of insurance schemes is becoming a hot topic for the European Union Regulator: incoming Directives seem to state a sort of "financial guarantee scheme model" valid not only for deposit insurance but also for investor compensation schemes in case of failure of investment firms. The author describes the ongoing process, focusing on the recently approved deposit-guarantee scheme Directive which will compel the Member States to redraw their internal regulation; then, using a very simple game, the author studies the effects on the equilibria of different kinds of institutional regulations. The normative results, especially from this last analysis, are not easy to state: however, using also some results of DiNoia (1994a and 1994b), the author ends up with some suggestions on the way of regulating the single DIAs in the EU Member States.

Une nouvelle lecture de Degas et le monotype au xixe siècle

En 2003-2004, les Nouvelles de l’estampe ont consacré un numéro spécial (n° 191-192, décembre 2003-février 2004) au monotype qui, a clarifié un phénomène bien plus vaste, structuré et diffusé que ce qu’on pense habituellement. Au début du xviie siècle, les expériences d’encrages différenciés restent isolées et éphémères – aux Pays-Bas, Rembrandt (v. 1606-1669) rend chaque tirage unique, mais pensons également aux pratiques moins connues de Cornelis Pietersz Bega (1632-1664) et Anthonis Sallae..

La petite histoire du Vœu de Louis XIII gravé par Calamatta d’après Ingres

Spanning 45 years, the fascinating personal and artistic relationship between friends Jean-Auguste-Dominique Ingres and Luigi Calamatta (Civitavecchia 1801 – Milan 1869) is emblematic of the relationship between a painter and the engraver of his work in early nineteenth century France. In this study we review the history of the Vow of Louis XIII engraved by Calamatta after the homonymous painting by Ingres. Using so far unpublished documents, recent discoveries and analysis of critical success, we address a major issue that arose in the 1830’s about reproductive printmaking (debated among others by George Sand, a friend of Calamatta’s): the opposition between faithful imitation and free interpretation of the artwork

L’eau-forte « mobile » dans l’évolution de l’estampe originale à la fin du XIXe siècle. Expériences françaises et italiennes

Mobil etching in the evolution of original print of the nineteenth century. French and Italian experiences. From the 1870’s, the phenomenon of “mobil etching” underwent technical experiments which characterize the renewal of the world of etching, chiefly those conducted in the midst of avangardist movements, the Impressionists en France and the Scapigliatura milanese in Italy. A few artists went as far as transforming etching which, from an object implying a series, became an unique work of art and made the most of the paradox of the multiplication of an unique artefact, obtained by the continuous variations of inking up. As regards the French, Ludovic-Napoléon Lepic wrote in 1876 Comment je devins graveur à l’eau-forte ; as regards the Italians, two generations later, Vittore Grubicij de Dragon confirmed the findings of the modern etching with his essay, L’acquaforte nell’arte moderna (1895). We may wonder about the real motivations which led this generation to be so interested in this technique and how the two groups arrive to the adoption of an identical process without entertaining any relationship and starting from totally different historical and cultural bases. What appears as a common denominator is the introduction in esthetical values of a concept of time relativity, to which the world of etching answers in a more significant manner than other kinds of Art.Dinoia Rosalba. L’eau-forte « mobile » dans l’évolution de l’estampe originale à la fin du XIXe siècle. Expériences françaises et italiennes. In: Histoire de l'art, N°50, 2002. Regards extérieurs. Études d'historiens étrangers sur l'art en France. pp. 95-108