6 research outputs found
La formation néo-grecs dans les ateliers de Delaroche et de Gleyre
Une acadĂ©mie dissidente Au Salon de 1847, ThĂ©ophile Gautier sâenthousiasme pour lâĆuvre dâun tout jeune artiste, Jeunes Grecs faisant battre des coqs par Jean-LĂ©on GĂ©rĂŽme, Ă©lĂšve de Delaroche et de Gleyre. Loin de la peinture froide et compassĂ©e des suiveurs de la tradition davidienne, le tableau de GĂ©rĂŽme se distingue par son charme, sa grĂące et sa fraĂźcheur. ComparĂ© Ă la poĂ©sie anacrĂ©ontique, il sĂ©duit par la nouveautĂ© et lâoriginalitĂ© du mĂ©lange entre une thĂ©matique de genre, la rĂ©fĂ©rence Ă ..
Le Vercingétorix d'Aimé Millet (1865), image équivoque du premier héros national français
AimĂ© Milletâs Vercingectorix (1865) : an ambiguous image of the first French national hero
Ordered in 1863 by Napoleon III, AimĂ© Milletâs Vercingectorix is largely forgotten today by the national community. However, this statue is an important work of the 19th century as far as not only public statuary, but also the Celtic thematic are concerned. Indeed, considering its proportions, it is one of the most important monuments of the century and it testifies to the stabilisation of the iconography of the Gaulois and to the accession of Vercingectorix to the rank of official hero of French history. The partial failure of the venture is due both to the material execution of the work and to the political intentions of the order. Napoleon III wished to commemorate an important event of the De Bello Gallico as well as to compete with the Prussian monument to Arminius, whereas Vercingectorixâs admirers wished the monument to be erected in honour of the first French patriot. These differences of opinions will cause the lack of popularity of the statue : to the figure of Milletâs loser, even before the fall of the Empire, the public prefered the fighting Vercingectorix by Bartholdi.Jagot HĂ©lĂšne. Le VercingĂ©torix d'AimĂ© Millet (1865), image Ă©quivoque du premier hĂ©ros national français. In: Histoire de l'art, N°57, 2005. Sculptures. pp. 79-92
The Neo-Greeks (1847-1874) : establishment of stylistic category
Au Salon de 1847, ThĂ©ophile Gautier sâenthousiasme pour lâĆuvre dâun tout jeune artiste, Jeunes Grecs faisant battre des coqs par Jean-LĂ©on GĂ©rĂŽme, Ă©lĂšve de Delaroche et Gleyre. ScĂšne de genre « Ă lâantique », lâĆuvre se distingue par son charme, sa grĂące et sa fraĂźcheur, loin de la peinture froide et compassĂ©e des suiveurs de la tradition davidienne. LâĆuvre est aussi le point de dĂ©part de la notoriĂ©tĂ© publique dâun petit groupe de peintres appelĂ©s « nĂ©o-grecs » â Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, FĂ©lix JobbĂ©-Duval, Auguste Toulmouche, Alphonse Isambert et Louis-FrĂ©dĂ©ric SchĂŒtzenberger â tous nĂ©s autour de 1825, Ă©lĂšves de Paul Delaroche et Charles Gleyre et installĂ©s en phalanstĂšre dâartistes de 1846 Ă 1863, au Chalet, puis Ă la BoĂźte Ă ThĂ©. DĂšs 1848 et jusquâaux annĂ©es 1860, les critiques rendent compte au fil des Salons des Ă©volutions artistiques de ces artistes. La rĂ©ception critique importance de ces artistes regroupĂ©s au sein dâune « Ă©cole nĂ©o-grecque » est symptomatique de lâinfluence grandissante de la critique sur la constitution des Ă©coles artistiques et sur lâĂ©volution de la carriĂšre des artistes. Leur esthĂ©tique va susciter des dĂ©bats sur le renouvellement de la peinture Ă lâantique, par lâintroduction des notions de pittoresque et de couleur locale, hĂ©ritĂ©es du romantisme, qui vont devenir les caractĂ©ristiques du genre historique comme dĂ©clinaison lĂ©gĂšre et sensible de lâancienne peinture dâhistoire. Les premiĂšres Ćuvres nĂ©o-grecques vont emporter lâadhĂ©sion des critiques inquiets des derniers dĂ©veloppements de lâĂ©cole française, qui voient dans cette nouvelle peinture matiĂšre Ă contrecarrer le rĂ©alisme, en apportant au public un art facile dâaccĂšs, moralisant les codes de la scĂšne de genre par le recours Ă lâAntique et Ă un classicisme formel gracieux. Pourtant, sous une facture classicisante, leur peinture, dĂ©libĂ©rĂ©ment antiacadĂ©mique, dĂ©stabilise rapidement les critiques qui sâinterrogent sur les buts artistiques de ces artistes. A ce groupe originel, les critiques associent rapidement dâautres artistes, issus dâhorizons trĂšs variĂ©s, qui adoptent momentanĂ©ment les codes de lâesthĂ©tique nĂ©o-grecque, brouillant encore davantage les diffĂ©rences entre peinture dâhistoire et genre historique, et entĂ©rinant le changement de conception idĂ©ologique du modĂšle antique dans la peinture, qui sera revendiquĂ© par la gĂ©nĂ©ration dâartistes des annĂ©es 1870-1890.At the Salon of 1847, ThĂ©ophile Gautier is enthusiast about the work of art of a young artist, The Cock Fight by Jean-LĂ©on GĂ©rĂŽme, a pupil of Delaroche and Gleyre. This piece of art, an "Antique" genre scene, is a work of elegance, grace and freshness, very different from the cold and formal painting of the Davidian tradition's followers. This artwork is also the starting point of the on coming fame of a small group of painters called "The neo-Greeks" - Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Felix JobbĂ©-Duval, Auguste Toulmouche, Isambert and Alphonse Louis-FrĂ©dĂ©ric SchĂŒtzenberger - all born around 1825. From 1846 to 1863, as students of Paul Delaroche and Charles Gleyre, they all set themselves in a community of artists at the Chalet and the Boite Ă ThĂ© which one calls a âphalanstĂšre ».From 1848 until the 1860s, all along the Salons, most critics write about the artistic evolutions of these people. The many articles written about the neo-Greeksâworks at that time reveales the growing influence of art-critics in the making of artistic schools and the evolution of artists's careers. Their aesthetic will provoke an argument about the renewal of antique theme painting as they introduce the concepts of local color and picturesque, coming from Romanticism, which will become the characteristics of the historical genre as a slight and sensitive declination of the ancient painting of history. The first neo-Greek paintings will gain the support of critics, eager about the latest developments of the French scene. They see in this new stream a way to counteract Realism by giving the public an easy access to art and moralizing the codes of the genre scene by using a formal and graceful classicism with Antique themes. However, though a classical form, their deliberately anti-academic painting soon make the critics wonder about the artistic goals of these artists.In addition to the original group, the critics will soon associate other artists, from very different backgrounds who temporarily adopt the Neo Greek aesthetics's codes, blurring even more the differences between the painting of history and the historical genre. This will also confirm the new ideological conception of Antique model in art, that the painters from the following generation of the 1870âs will claim themselves
Du haut de ces pyramides... : l'expĂ©dition d'Ăgypte et la naissance de l'Ă©gyptologie (1798-1850) : catalogue [de l'exposition La Roche-sur-Yon, MusĂ©e municipal et MĂ©diathĂšque Benjamin-Rabier,14 dĂ©cembre 2013-22 mars 2014]
International audienceL'exposition « Du haut de ces pyramides...» au musĂ©e de La Roche-sur-Yon a mis en lumiĂšre le rĂŽle de la campagne d'Ăgypte (lors de laquelle 160 savants et artistes accompagnĂšrent le gĂ©nĂ©ral Bonaparte) dans la naissance de l'Orientalisme.14 spĂ©cialistes Ă©tudient les rĂ©percussions de cette opĂ©ration militaire dans tous les domaines du savoir
Apprendre Ă peindre
OĂč apprenait-on Ă peindre Ă Paris au XIXe siĂšcle ? Cette question pourtant cruciale nâa jusquâa maintenant guĂšre Ă©tĂ© approfondie par les historiens de lâart dont lâattention Ă©tait surtout tournĂ©e vers le fonctionnement de lâĂcole des beaux-arts. Or les classes de peinture nây furent introduites quâen 1863. De la fin du XVIIIe siĂšcle Ă 1863, câest dans lâespace hybride des ateliers privĂ©s dâenseignement, entre ancienne cellule artisanale et structure acadĂ©mique, que sâinventent et se dĂ©veloppent de nouvelles approches du mĂ©tier de peintre. Au-delĂ des aspects techniques et esthĂ©tiques, câest le statut mĂȘme des artistes qui se redĂ©finit Ă lâaune dâune autonomie inĂ©dite. Le caractĂšre professionnel des formations se prĂ©cise, tandis que la relation entre le maĂźtre et lâĂ©lĂšve gagne en complexitĂ©. Si la nostalgie du lien intime entre patron et apprenti de lâAncien RĂ©gime apparaĂźt comme un leitmotiv de la rĂ©flexion artistique, la situation nouvelle des ateliers privĂ©s favorise lâĂ©mancipation des jeunes peintres par rapport Ă lâautoritĂ© du maĂźtre. La libertĂ© nouvelle face aux modĂšles, Ă la fois source dâangoisse et dâenthousiasme, transforme ainsi les ateliers privĂ©s en laboratoires expĂ©rimentaux de la modernitĂ©
Penetrance estimation of Alzheimer disease in SORL1 loss-of-function variant carriers using a family-based strategy and stratification by APOE genotypes
International audienceAbstract Background Alzheimer disease (AD) is a common complex disorder with a high genetic component. Loss-of-function (LoF) SORL1 variants are one of the strongest AD genetic risk factors. Estimating their age-related penetrance is essential before putative use for genetic counseling or preventive trials. However, relative rarity and co-occurrence with the main AD risk factor, APOE -Δ4, make such estimations difficult. Methods We proposed to estimate the age-related penetrance of SORL1 -LoF variants through a survival framework by estimating the conditional instantaneous risk combining (i) a baseline for non-carriers of SORL1- LoF variants, stratified by APOE-Δ4 , derived from the Rotterdam study ( N = 12,255), and (ii) an age-dependent proportional hazard effect for SORL1- LoF variants estimated from 27 extended pedigrees (including 307 relatives â„ 40 years old, 45 of them having genotyping information) recruited from the French reference center for young Alzheimer patients. We embedded this model into an expectation-maximization algorithm to accommodate for missing genotypes. To correct for ascertainment bias, proband phenotypes were omitted. Then, we assessed if our penetrance curves were concordant with age distributions of APOE -Δ4-stratified SORL1- LoF variant carriers detected among sequencing data of 13,007 cases and 10,182 controls from European and American case-control study consortia. Results SORL1- LoF variants penetrance curves reached 100% (95% confidence interval [99â100%]) by age 70 among APOE -Δ4Δ4 carriers only, compared with 56% [40â72%] and 37% [26â51%] in Δ4 heterozygous carriers and Δ4 non-carriers, respectively. These estimates were fully consistent with observed age distributions of SORL1- LoF variant carriers in case-control study data. Conclusions We conclude that SORL1- LoF variants should be interpreted in light of APOE genotypes for future clinical applications