Thermal behaviour of CpCuPEt3 in gas phase and Cu thin films processing

Decomposition of CpCuPEt3 (Cp=NNN(η5-C5H5)) and MOCVD of Cu films from CpCuPEt3 have been investigated in the frame of an ongoing project on the processing of Cu-containing coatings. The behaviour of CpCuPEt3 vapours under heating conditions was studied by in situ mass spectrometry. It was established that this compound is monomeric in gas phase. Its decomposition mechanism on hot surface was proposed. From mass spectroscopy experiments, it was established that decomposition in vacuum begins at 150 °C with evolution of PEt3. Beyond 270 °C, formation of cyclopentadiene is observed, indicating that a change in decomposition mechanism occurs. The saturating vapour pressure of CpCuPEt3 was estimated through static method, in order to optimize transport conditions and to control the molar fraction of the precursor in the gas phase. Finally, growth rate and microstructure of MOCVD processed Cu films from CpCuPEt3 have been investigated

L’Œuvre de Victor Hugo à l’écran. Des rayons et des ombres, sous la direction de Delphine Gleizes

Improntata da un impegno prevalentemente interdisciplinare, quest’opera collettiva è il risultato di un seminario nonché di una giornata di studio che ha riunito a Lione alcuni significativi studiosi di letteratura, delle arti dello spettacolo e di storia del cinema (O. Bara, m. Berner, C. Gauthier, D. Gleizes, E. Janer, A. Laster, S. Mombert, M. Moutet, S. Raffin, D. Reynaud, M. Serceau, D. Vezyroglou). Il libro fa vedere con chiarezza quanto larga e profonda fu l’influenza dell’immaginario ..

The Monongalia County Court House Mural: Blanche Lazzell and the Public Works of Art Project in Morgantown, West Virginia

Blanche Lazzell (1878-1956), a native of West Virginia and graduate of West Virginia University, was an early practitioner of Modern art in America. Lazzell was employed by the government-sponsored Public Works of Art Project (PWAP) in 1934 in Morgantown, West Virginia. During her time with the program, Lazzell completed three wood-block prints and painted Justice, a mural for the Monongalia County Courthouse. This thesis examines Lazzell’s courthouse mural and discusses Lazzell’s selection of three themes, education, religion, and industry, and why they are significant to the Morgantown area. This thesis demonstrates that although the PWAP stipulated that there was to be no European modernist characteristics evident in work produced for the project, Lazzell’s courthouse mural exhibits traits of European modernist aesthetics

Marcel Duchamp in Munich 1912

1912 est une année très particulière dans la psychobiographie de Marcel Duchamp. Le traumatisme qu’a constitué le retrait de Nu descendant un escalier exigé par Albert Gleizes et Jean Metzinger du Salon des Indépendants, fit date. « L’incident, commente M. Duchamp, a déterminé en moi, sans même que je m’en rende compte, une complète révision de mes valeurs. » Il s’ensuit que 1912 apporte à ce « jeune homme triste », peut-être légèrement hyperestésique, son lot de découvertes (Raymond Roussel,..

Cézanne y Baudelaire: modelos de modernidad

El texto que sigue busca analizar en qué puntos coinciden y de qué modo difieren las concepciones artísticas de dos figuras comprometidas con la emergencia del arte moderno: Baudelaire, quien afinó tan precisamente el concepto de modernidad, y paul cézanne, considerado como el gran precursor de la pintura moderna. Ambos constituyen modelos de modernidad, en principio opuestos, pero en realidad bas- tante más afines de lo que se puede pensar. En particular, lo que será examinado son las formas en que ambos conciben la idea de modelo y el modo en que piensan la relación arte y naturaleza

Distance and Distortion: Amadeo Souza Cardoso\u27s and Joan Miró\u27s War-years Painting and the Words that Fail Them

This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance