Pour une approche typologique de la peinture de bataille du xviie siècle

La peinture de bataille est un genre mal connu et peu apprécié. La production de cette peinture est souvent perçue comme homogène et rébarbative. Ignorant fréquemment les tenants et aboutissants de la bataille représentée, le spectateur se trouve devant une image anonyme qui ne lui parle pas. En outre, la peinture de bataille obéit à des codes de représentation précis qui peuvent donner l’impression d’une production peu imaginative. En réalité, la connaissance de ces codes de représentations et la manière dont les artistes jouent avec eux, offrent autant de points d’entrée vers une plus grande intimité avec l’œuvre.The battle painting is a genre misunderstood and underrated. The production of this painting is often perceived as homogeneous and grim. Viewers frequently ignore the ins and outs of the battle represented, and face images that do not speak to them. In addition, battle painting obeys specific codes of representation that could give the impression of an unimaginative production. In fact, the knowledge of these codes of representations and the way artists play with these principles, offers many entry points to a greater intimacy with this kind of work

Radiofrequency and mechanical tests of silver coated CuCrZr contacts for the ITER ion cyclotron antenna

The ITER Ion Cyclotron Resonance Heating (ICRH) system is designed to couple to the plasma 20 MW of RF power from two antennas in the 40–55 MHz frequency range during long pulses of up to 3600 s and under various plasma conditions with Edge Localized Modes. Radio-Frequency (RF) contacts are integrated within the ITER ICRH launcher in order to ensure the RF current continuity and ease the mechanical assembly by allowing the free thermal expansion of the Removable Vacuum Transmission Line coaxial conductors during RF operations or during 250 °C baking phases. A material study has been carried out to determine which materials and associated coatings are relevant for RF contacts application in ITER. In parallel, RF tests have been performed with a new prototype of Multi-Contact® LA-CUT/0,25/0 contacts made of silver-coated CuCrZr louvers. During these tests on a RF vacuum resonator, currents between 1.2 kA and 1.3 kA peak have been reached a few tens of times in steady-state conditions without any visible damage on the louvers. A final 62 MHz pulse ending in a 300 s flat top at 1.9 kA resulted in severe damage to the contact. In addition, a test bed which performs sliding test cycles has been built in order to reproduce the wear of the contact prototype after 30 000 sliding cycles on a 3 mm stroke at 175 °C under vacuum. The silver coating of the louvers is removed after approximately a hundred cycles whilst, to the contrary, damage to the CuCrZr louvers is relatively low

De pinceau et d’épée. La peinture de bataille en Italie (XVIe-XVIIIe siècle) : vers une dissolution des formes

On brush and sword. The battle painting in Italy (16th-18th century) : towards dissolution of forms The representation of battles in the Roman and Tuscan Renaissance painting is dominated by the mannerist style : few naturalistic coloration, predominance of the line and contour on the effects of the atmosphere, predilection for the complexity of compositions, all of which adds the work the character of “tour de force”. With the production of Michelangelo Cerquozzi and Jacques Courtois in the 17th century, the treatment of the subject was well developed. From then on, the tumult of mixing of the horsemen has direct consequences on representation. Absorbed by the light-dark contrast, the forms of soldiers and horses become less distinct. Starting from the end of the 17th century, this tendency towards confusion accentuates with the development of a much established pictorial style. The figures lose solidity, but the act of painting gains vigor and energy to the extent that it appears to be the imitation of the act of combat.Delaplanche Jérôme. De pinceau et d’épée. La peinture de bataille en Italie (XVIe-XVIIIe siècle) : vers une dissolution des formes. In: Histoire de l'art, N°58, 2006. Peintures. pp. 25-35

Louis XIV sur le champ de bataille. L’invention d’un héroïsme royal entre textes et images

Delaplanche Jérôme. Louis XIV sur le champ de bataille. L’invention d’un héroïsme royal entre textes et images. In: Versalia. Revue de la Société des Amis de Versailles, n°16, 2013. pp. 71-90

L’antichambre du Roi dite le Grand Couvert : le cycle des peintures de Joseph Parrocel

Delaplanche Jérôme, Sarrazin Béatrice, Wansart Noémie. L’antichambre du Roi dite le Grand Couvert : le cycle des peintures de Joseph Parrocel. In: Versalia. Revue de la Société des Amis de Versailles, n°22, 2019. pp. 87-102