‎Annales de l'Université d'Abidjan. série D. Lettres et Sciences Humaines. Tome 14. 1981.‎

‎Abidjan: Université d'Abidjan, 1981 in-8, broché. 216 pages.‎

‎Annales de l'Université d'Abidjan. série D. Lettres et Sciences Humaines. Tome 14. 1981. (Abidjan, 1981) [M.C.: revue, Afrique noire, Côte d'Ivoire, littérature, lettres, sciences humaines]‎

‎ANNALES des sciences et de l'industrie du midi de la France, publiées par la société de statistique de Marseille.‎

‎Marseille, Feissat ainé, 1832 3 volumes in-8 (12,5 X 20,5 cm) demi basane havane à petits coins, dos lisses, filets et fleurons dorés, plats de papier rose uni, tranches jaunes. 342 + 314 + 304 pp. (Dorures un peu passées). ‎

‎15 planches dépliantes (sur 20). Très intéressants ouvrages dans lesquels sont compilés des articles les plus variés sur la physique, la géologie, les sciences naturelles… Tableaux dont deux dépliants consacrés à la météorologie. ‎

‎CONGRES de PARIS 1900. 1ère section. Histoire générale et Diplomatique. 5ème section: Histoire des Sciences.‎

‎ Paris, Librairie Armand Colin, 1901 ; 2 volumes grand in-8°, brochés, couvertures crèmes imprimées en noir; petite étiquette de classement collée aux dos.1ère section : Histoire générale et Diplomatique. (4), 398pp.; schémas dans le texte et 7 cartes Hors texte.5ème section: Histoire des Sciences. (6), 348pp.‎

‎Couverture jaunie avec très petit manque en bordure des plats et au dos du 1er volume et manque de papier au dos ( 1/3) au volume de la 5ème section. ( GrF) ‎

‎Bronze Coins of Eastern Mount Ossa in the Thessalian Perioikic Region of Magnesia. Homolion, Eureai, Eurymenai, and Meliboia‎

‎, Brepols, 2024 Hardback, xxviii + 232 pages, Size:152 x 229 mm, Illustrations:226 b/w, 7 tables b/w., Language: English. ISBN 9780897223959.‎

‎Summary This monograph examines the Late Classical and Hellenistic bronze coinages of five mints in the Thessalian perioikic region of Magnesia. At the core of this work lies a new die-study of the coins produced by the strategically and economically important coastal cities of Homolion and Meliboia as well as the lesser-known mints of Eureai, Eurymenai, and Rhizous. Combining this die-study with a close examination of the cities' topographical context in a border region between Thessaly and Macedon and drawing on archaeological data from Magnesia and beyond, the monograph addresses key questions concerning the chronology, denominations, and circulation patterns of the bronze issues minted on eastern Mount Ossa. This analysis not only throws new light on coin production in Late Classical and Hellenistic Magnesia, but also allows a discussion of the possible military and non-military functions of the region's different bronze issues. Placing the coins of Eureai, Eurymenai, Homolion, Meliboia, and Rhizous in their wider context, this monograph furthermore addresses broader issues in the history of Thessalian coinage. In particular, the monograph's regional approach offers an unusual opportunity to examine to what extent Thessaly's Late Classical and Hellenistic civic coins were genuinely local in design, production, and function. The monograph thus both explores the coins of Mount Ossa and contributes towards a better understanding of the introduction and development of bronze coinages in the wider Thessalian region and beyond. TABLE OF CONTENTS Preface Abbreviations List of Tables List of Figures List of Plates 1. Setting the Scene: Thessalian Bronze Coinages 2. The Topography and Political Geography of Eastern Mount Ossa 3. The Cities of Eastern Mount Ossa and their Coinages (Homolion, Meliboia, Eurymenai, Rhizous, and Eureai) 4. The Chronology of the Coinages of Mount Ossa 5. The Bronze Coinages of Northeastern Magnesia: Circulation, Denominations, and Patterns of Minting Activity 6. The Bronze Coinages of Northeastern Magnesia: Two Possible Functions 7. Conclusion: Bronze Coinages between Magnesia, Thessaly, and Macedone Bibliography Appendix I: Catalogue of Coins Appendix II: Tables Indexes (Coins by Collection, Coins by Excavation and Findspot, Coins by Auction, Sources, General) Plates‎

‎PALIMPSEST form and meaning of a recently discovered late medieval panel from Nuremberg.‎

‎BE - , De Backker medieval art, Hardcover 57 PAGES Color illustrations .‎

‎PALIMPSEST form and meaning of a recently discovered late medieval panel from Nuremberg.‎

‎Goya. The Complete Prints, complete collection of his 287 etchings and lithographs,‎

‎, Taschen, 2025 Hardcover in slipcase, XL, 24.3 x 30.4 cm, 3.78 kg, 600 pages, Multilingual (English, French, German). *NEW. ISBN 9783836581516.‎

‎The Soul of Spain, The entirety of the artist?s etchings and lithographs collected in one volume; With acute powers of observation and artistic innovation, Francisco de Goya captured the soul of the Spanish nation in turmoil, around the dawn of the 19th century. In this complete collection of his 287 etchings and lithographs, we see into the mind of an artist unafraid to navigate the depths of human folly, hypocrisy, violence, and power. Francisco de Goya was one of the most innovative peintre-graveurs of the late 18th and early 19th centuries, his etchings and lithographs masterpieces of modern printmaking. Trained in Spain and Italy, and appointed First Court Painter to Charles IV early in his career, he brought the sensibilities of the Enlightenment into uneasy dialogue with the brutal realities of his time. Whether working in single sheets, like the harrowing The Garrotted Man or the sublime Seated Giant, or across his celebrated series?the satirical Caprichos, the unflinching Desastres de la Guerra, the dynamic Tauromaquia, and the nightmarish Disparates?Goya chronicled both the spirit and the shadows of a world in upheaval, where the individual was often crushed by violence, superstition, or power. These weren?t just reflections on Spanish society. They were indictments, meditations, and warnings, etched in copperplates. This landmark collection of 287 etchings and lithographs gathers Goya?s complete printed ?uvre, including editions produced under his direct supervision, as well as rare state proofs from unpublished series, giving uncommon insight into his restless experimentation and meticulous control over the printmaking process. With a detailed commentary on each image and commanding essays by José Manuel Matilla and Anna Reuter, this volume is the culmination of more than two centuries of scholarly research, and is a searing visual narrative. Goya did not simply depict his world. He dissected it, laying bare the eternal tensions between reason and madness, justice and cruelty, hope and despair.‎

‎Imagining the Miraculous: Miraculous Images of the Virgin Mary in French Illuminated Manuscripts, ca. 1250-ca. 1450‎

‎, Brepols, 2019 Hardback, xvii + 194 pages, Size:205 x 255 mm, Illustrations:94 b/w, Language: English. ISBN 9780888442154.‎

‎Summary This is not a book about miraculous images of the Virgin Mary (be they icons, sculptures, altarpieces, or reliquaries) but about their representations in French illuminated manuscripts from ca. 1250 to ca. 1450. Most of these depictions of the Virgin Mary cannot be identified even tangentially with particular surviving images (such as the Virgins of Rocamadour, Soissons, Chartres, and Laon). Rather, these illustrations point to the ubiquity of local miraculous Marian images in devotional practices from the thirteenth to the fifteenth century in French-speaking regions. This book analyzes depictions of material images and the animated miracles they perform, and traces their evolution from the earliest narratives of Marian miracles written in Old French to texts and images produced at the Burgundian court of the late Middle Ages. Beginning with the most extensive compilation of Gautier de Coinci's Miracles de Nostre Dame, the study then examines lesser-known anonymous works such as the Vie des Pères and encyclopedic collections including the French version of Vincent of Beauvais' Speculum historiale and the Ci nous dit, as well as a theatrical production of the Miracles de Nostre Dame par personnages, before concluding with the prose rendering of the Miracles by Jean Miélot. Imagining the Miraculous explores the ways in which these works depict physical images, such as panel paintings and sculptures, on the manuscript page. Each chapter provides a detailed iconographical analysis of the miniatures and the diverse techniques of visual narrative they harness, serving also to show how attentive reading of their reception can help us understand how the miniatures themselves might have led viewers to imagine the miraculous moment when an image comes to life.‎

‎FRANS HALS : Oog in oog met Rembrandt, Rubens en Titiaan‎

‎, Nai010 Uitgevers/Publishers 2013, 2013 Softcover, 160 pagina's, Nederlands, 285 x 235 mm, boek in prima staat, met veel illustraties in kleur, . ISBN 9789462080522.‎

‎2013 is uitgeroepen tot Frans Hals Jaar. Het is dan precies 100 jaar geleden dat het Frans Hals Museum zijn deuren opende. De belangrijkste tentoonstelling in dit jubileumjaar is 'Frans Hals. Oog in oog met Rembrandt, Rubens en Titiaan', waarin sleutelstukken van Frans Hals worden gepresenteerd te midden van schilderijen van beroemde collega's onder wie Titiaan, Rembrandt, Van Dyck, Jordaens en Rubens. In de gelijknamige publicatie worden alle werken uit de tentoonstelling zij aan zij gepresenteerd, zodat de lezer de meesterwerken kan vergelijken en kan zien hoe de kunstenaars elkaar inspireerden. Deze bijzondere confrontaties van meesterschilders zijn essentieel om zeventiende-eeuwse kunst te begrijpen. Beroemde schilders maakten hun werken immers vaak in reactie op elkaar, met de bedoeling de ander te overtreffen en iets bijzonders neer te zetten. Internationale specialisten werpen een nieuw licht op Hals' virtuositeit, zijn rol in de zeventiende eeuw en zijn artistieke relatie met zijn collega's uit Antwerpen (Rubens, Van Dyck) en Amsterdam (Rembrandt).‎

‎Experience Shopping : Where, Why and How People Shop‎

‎, Lannoo Publishers 2008, 2008 Softcover, 208 pages, English, 310 x 240 mm, fine copy, illustrated cover, . ISBN 9789020978575.‎

‎Shopping has become an increasingly important aspect of life - it has become one of the favourite leisure activities of the twenty-first century. But where do we shop? And why? How do we choose where to shop and what to buy? What drives the need for 'retail therapy'? Experience Shopping analyses the things that retailers do to entice the shopper - to get into our brains, our emotions and our lives. The book includes major brand names such as Starbucks, The Gap, Apple, Nokia, Orange, Nike and Armani.‎

‎Kati Heck. ‎

‎, Kannibaal, 2016 Gebonden, Hardcover. 29 x 24,7 cm,144 bladzijden, Quadrichromie,Tweetalige editie Nederlands-Frans . ISBN 9789492081544.‎

‎Kati Heck wordt beschouwd als een erfgename van het Duitse expressionisme. Haar werk doet denken aan de bars, dansers en acteurs van Otto Dix en George Grosz, net als aan de oude meesters. Ze synthetiseert stijlen en is net zo goed een abstracte expressionist als een realist. Delen van haar schilderijen zijn minutieus weergegeven op gestikte doeken, met een unieke virtuositeit en acute aandacht voor detail, terwijl andere delen abstracter weergegeven of zelfs gebeeldhouwd worden. De manier waarop ze niet-traditionele materialen en alledaagse objecten in innovatieve en eigenzinnige combinaties verwerkt, herinnert aan Robert Rauschenberg. Hecks portretten belichamen een diepe, overtuigende en sociale visie, en zijn tegelijk ondoorgrondelijk persoonlijk. De weergegeven onderwerpen zijn meer dan enkel acteurs, het zijn meestal zelfportretten en personen uit haar directe omgeving. Haar werk werd onlangs geexposeerd in CAC Malaga en Mary Boone Gallery New York, en wordt de komende maanden getoond in Expo Chicago en het Antwerpse M HKA. Met tekstbijdragen van onder meer Ann Demeester (Frans Hals Museum/De Hallen Haarlem) en wijlen Jan Hoet, een verhaal door Woody Allen en een gesprek met Luc Tuymans. ‎

‎Kati Heck. ‎

‎, Hatje Cantz, 2016 Hardcover. 29 x 24,7 cm,144 pages , Quadrichromie, Text in English / German *New book! ISBN 9783775741316.‎

‎German Expressionism and New Objectivity shine forth in the paintings by Kati Heck (*1979 in Düsseldorf). Her monumental paintings impress viewers with their humorous blend of styles, consisting of photorealistic figures together with graphic elements. Some sections of the collage-like works are meticulously painted in, while others are quickly executed. Like Robert Rauschenberg, Heck joins nontraditional materials and everyday objects to develop highly unusual pictorial creations. ?She clearly, convincingly, and permanently questions the art of painting,? says Jan Hoet about her oeuvre. The volume on Kati Heck focuses primarily on the painting of one of the most interesting aspiring artists of today. ‎

‎Kursaal and Promenade. Léon Spilliaert (1881-1946) and Atmospheric Solitude by the Sea Anne Adriaens-Pannier‎

‎, Hannibal Books, 2023 softcover, 112 pages, 21 x 14.8 cm, Quadrichromy Illustrated., English edition. . ISBN 9789464666458.‎

‎A lone walker at dawn in Ostend, Léon Spilliaert (1881-1946) is entranced by the bleak and ominous desolation of the promenade. A fascination with spatiality and the expression of infinity underlie the numerous dyke scenes Spilliaert created between 1907 and 1909, heralding a unique, formal innovation. Learn more about the compelling Kursaal and Promenade that is the centrepiece of this Phoebus Focus.‎

‎Kursaal en zeedijk Léon Spilliaert (1881-1946) en atmosferische eenzaamheid bij de zee‎

‎, Hannibal Books, 2023 softcover, 112 pages, 21 x 14.8 cm, Quadrichromy Illustrated., Nederlandstalige editie . ISBN 9789464666441.‎

‎Als eenzame wandelaar in het ochtendgloren van Oostende laat Léon Spilliaert (1881-1946) zich begeesteren door de desolate en onheilspellende verlatenheid van de zeedijk. De fascinatie voor ruimtewerking en de expressie van oneindigheid liggen aan de grondslag van de talrijke dijkzichten die Spilliaert tussen 1907 en 1909 creëert en waarmee hij een unieke formele vernieuwing inluidt. Ontdek het beklijvende werk Kursaal en zeedijk dat in deze Phoebus Focus centraal staat.‎

‎Leon Spilliaert. Le reve des autres, Illustrateur de Verhaeren, Maeterlinck, Hellens,‎

‎, Van de Wiele, 2018 Couverture reliee, HB, 300 x 220 mm, 240 p, throughout illustrations, Texte en Francais. ISBN 9789076297729.‎

‎Elles sont pratiquement inconnues de la plupart des amateurs d'art: les illustrations de Leon Spilliaert (1881-1946) dans des editions de l'oeuvre d'ecrivains belges comme Emile Verhaeren, Maurice Maeterlinck, Franz Hellens, Paul Neuhuys et bien d'autres. Spilliaert a illustre leurs recueils de poesie et pieces de theatre, et meme un livre pour enfants, de dessins a l'encre de Chine et a l'aquarelle, ou il a laisse libre cours a son inspiration dans sa visualisation de l'univers onirique des auteurs. Ce volet foisonnant de son art est enfin devoile au public par la specialiste de Spilliaert, Anne Adriaens-Pannier. L'ouvrage accompagne l'exposition Le reve des autres a La Maison Spilliaert a Ostende (du 19 novembre 2017 au 2 avril 2018), ou sont reunies les editions en question, rehaussees de dessins originaux ou d'illustrations imprimees, et des oeuvres autonomes de l'artiste en rapport avec son travail d'illustrateur. Les pieces exposees, issues de collections publiques et particulieres, presentent pour la premiere fois - et probablement la seule - un panorama complet des creations de Spilliaert inspirees de la litterature.‎

‎LÉON SPILLIAERT. DE DROOM VAN ANDEREN ‎

‎, Van de Wiele, hardcover, 290 x 215 mm, 240 pagina's, doorlopend illustraties NL editie. *nieuwstaat. ISBN 9789076297712.‎

‎Bij de meeste kunstliefhebbers zijn ze vrijwel onbekend: de illustraties van Léon Spilliaert (1881-1946) in uitgaven van het werk van Belgische schrijvers als Emile Verhaeren, Maurice Maeterlinck, Franz Hellens, Paul Neuhuys en vele anderen. Spilliaert illustreerde hun dichtbundels en theaterstukken, en zelfs een kinderboek, met tekeningen in Oost-Indische inkt en aquarelverf, of liet zijn inspiratie de vrije loop bij het visualiseren van de droomwereld van de auteurs. Dit rijke deelgebied van zijn kunst wordt door Spilliaertspecialiste Anne Adriaens-Pannier eindelijk voor het publiek ontsloten. Dit boek begeleidt de tentoonstelling De droom van anderen in Het Spilliaert Huis in Oostende (van 19 november 2017 t.e.m. 2 april 2018), waar de uitgaven met originele tekeningen of gedrukte illustraties en aanverwante autonome werken samen te zien zijn. De stukken, uit openbare en particuliere collecties, bieden voor het eerst, en waarschijnlijk eenmalig, een volledig beeld van Spilliaerts literair geïnspireerde creaties.‎

‎Guy Leclercq : recente werken 2006-2017 ‎

‎, Lannoo 2018, 2018 Hardcover, 160 pagina's, NL/FR, 305 x 250 x 20 mm, in prima staat, illustr. in kleur ISBN 9789401449335.‎

‎Schuwde Guy Leclercq zich aanvankelijk niet om aan zijn schilderijen een narratieve inhoud toe te kennen, vaak met citaten ontleend aan tribale culturen en symbolen uit de etnografie, vanaf 1990 is daarvan nog weinig van te merken. In zijn meest recente creaties beperkt de kunstenaar zich vaak tot een geometrisch geïnspireerd vormenarsenaal, dat doorgaans wordt ondersteund door een rudimentair kleurenpalet van zwarte, grijze en witte tonen. De compositievlakken zijn geenszins egaal maar opgebouwd met onderlagen waardoor ze licht gaan vibreren.‎

‎Léon Spilliaert: Lumière et solitude. ‎

‎, Réunion des Musées, , 2020 Hardcover- Couverture reliee 208 pages, 130 Illustrations, 29x23cm.Texte en Francais Exhibition catalogue. ISBN 9782711875276.‎

‎Léon Spilliaert est considéré comme l'un des peintres belges les plus importants, à côté de R. Magritte, J. Ensor, P. Delvaux.... Pourtant, il est moins connu... Homme des solitudes inquiétantes, des perspectives infinies, Spilliaert (1881-1946) surprend, déroute par des ?uvres inclassables, inventant un symbolisme singulier de la nuit intérieure. Spilliaert est né à Oostende. Ses promenades nocturnes dans la ville déserte seront une source d'inspiration pour son oeuvre. Il est presque entièrement autodidacte. Il est influencé par les courants artistiques de la fin de siècle : le symbolisme et l'expressionnisme. Spilliaert est un explorateur de l'inconscient et des angoisses existentielles au moment où les sciences humaines avancent dans la compréhension de la psyché. Il est passionné par Nietzsche, Schopenhauer, Chateaubriand et Lautréamont. Le catalogue se concentre sur les années 1896 à 1919, les plus intenses dans la carrière de l'artiste, et présente ses oeuvres les plus radicales. Exposition du 13 octobre 2020 au 10 janvier 2021 au Musée d'Orsay, à Paris. Léon Spilliaert: Lumière et solitude (Musée d'Orsay & Grand Palais) aantalIn winkelwagen Léon Spilliaert is considered to be one of the most important Belgian painters, alongside R. Magritte, J. Ensor, P. Delvaux?. However, he is less well known? A man of disquieting solitudes and infinite perspectives, Spilliaert (1881-1946) surprised and disconcerted by unclassifiable works, inventing a singular symbolism of the inner night. Spilliaert was born in Oostende. His night walks in the deserted city were a source of inspiration for his work. He is almost entirely self-taught. It is influenced by the artistic currents of the end of the century: symbolism and expressionism. Spilliaert is an explorer of the unconscious and existential anxieties at a time when the human sciences are advancing in their understanding of the psyche. He is passionate about Nietzsche, Schopenhauer, Chateaubriand and Lautréamont. The catalogue focuses on the years 1896 to 1919, the most intense years in the artist?s career, and presents his most radical works. Exhibition from October 13, 2020 to January 10, 2021 at the Musée d?Orsay. IN FRENCH!‎

‎UITBUNDIG VERLEDEN De Bourgondiërs door Romantische ogen‎

‎, Snoeck Publishers , 2021 PB+, 280 x 250 mm, 160 pages , 132 illustraties. NL edition. fine. ISBN 9789461616777.‎

‎Teruggrijpen naar het verleden, het is iets van alle tijden. Net als vandaag was geschiedenis ook in de negentiende eeuw populair. Het is de eeuw waarin verschillende nieuwe naties ontstaan en andere zich sterker gaan profileren op het internationale toneel. Tijdens de Romantiek groeit een hernieuwde belangstelling voor de Bourgondische hertogen, van Filips de Stoute tot de roemrijke keizer Karel. Zo treden de vijftiende- en zestiende-eeuwse Bourgondische vorsten in verschillende Europese landen opnieuw op de voorgrond. Als de aartsvaders van de Lage Landen verschijnen ze op schilderijen, in de literatuur en beeldhouwkunst. Maar het beeld van de vorsten verschilt sterk van land tot land: wat vertellen ze ons over de negentiende-eeuwse visie op het verleden? En over de manier waarop wij vandaag omgaan met onze geschiedenis? In Uitbundig Verleden. De Bourgondiërs door Romantische ogen kijk je vanuit een hedendaagse context, met een kritische blik en een veranderend perspectief naar het verleden. De ondergrondse exporuimte van Museum Hof van Busleyden doet aan als eennegentiende-eeuws monumentaal museum en toont met een veertigtal werken het verlangen naar de grootsheid van weleer. Museum Hof van Busleyden - 27.11.2021 - 27.02.2022. Uitbundig Verleden is een samenwerking tussen Museum Hof van Busleyden en het Monastère royal de Brou in Bourg-en-Bresse (Frankrijk).‎

‎Icons of Modern Art: The Morozov Collection‎

‎, Gallimard/Fondation Louis Vuitton, 2021 Hardcover, 520 pages, ENG, 305 x 285 x 50 mm, dustjacket, NEW, 545 coloured images, ISBN 9782072904592.‎

‎The Morozov brothers, wealthy Moscow textile merchants Mikhail (1870-1903) and Ivan (1871-1921), played a key role in bringing Impressionist and Post-Impressionist art to Russia in the first decades of the 20th century. Along with Sergei Shchukin, a fellow industrialist and art collector, they created an international audience for French art and had a transformative effect on Russian cultural life. Between the years 1903 and 1914, Ivan Morozov spent more money than any other collector of his time, amassing a stunning collection of works by Matisse, Monet, Picasso, Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh, Degas, Pissarro, and, most especially, Cezanne (17 paintings, all of which will be on display). On his bi-annual trips to Paris, he bought from the most discerning dealers, including Paul Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well as directly from the artists themselves. His collection comprises 278 paintings, not including 300 paintings by Russian artists (Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova) and 28 sculptures. The Morozov collection was nationalised after the October 1917 Revolution, and after World War II it was divided among the Hermitage Museum, the Pushkin State Museum of Fine Arts, and the Tretyakov State Museum. This stunning catalogue has been published for a show of 100 highlights from the Morozov Collection that will run from February 24th to July 25th 2021 at the Louis Vuitton Foundation in Paris. It is the first time that works from the collection will travel abroad since they were acquired. This landmark exhibition will be the only stop for the show outside of Russia.‎

‎Icônes de l'Art moderne: La collection Morozov‎

‎, Coédition Gallimard/Fondation Louis Vuitton, 2021 cartonnage illustre de l'editeur, 524 pages Illustrated. 28.5 x 5.1 x 30.5, Texte en Francais Exhibition catalogue. ISBN 9782072904585.‎

‎Le second volet de la grande manifestation "Icônes de l'art moderne" organisée par la Fondation Louis Vuitton réunit plus de 170 chefs-d'oeuvre inestimables de la collection d'art moderne français et russe des frères moscovites Mikhaïl et Ivan Morozov.Après celui de Sergueï Chtchoukine, la Fondation Louis Vuitton poursuit son exploration de l'univers culturel et intellectuel des collectionneurs mécènes russes, pionniers de l'art moderne. Présentée pour la première fois hors de Russie, la Collection Morozov rassemble des oeuvres iconiques de Manet, Rodin, Monet, Pissarro, Toulouse-Lautrec, Renoir, Sisley, Cézanne, Gauguin, Van Gogh, Bonnard, Denis, Maillol, Matisse, Marquet, Vlaminck, Derain et Picasso aux côtés d'artistes emblématiques de l'art russe au tournant du siècle tels que Répine, Vroubel, Korovine, Golovine, Sérov, Larionov, Gontcharova, Malévitch, Machkov, Kontchalovski, Outkine, Sarian ou Konenkov. La présentation inédite de ces artistes constitue une redécouverte exceptionnelle.Philanthropes des arts, les frères Mikhaïl Abramovitch Morozov (1870-1903) et Ivan Abramovitch Morozov (1871-1921) ont dominé la vie culturelle moscovite entre la fin du XIX? et le début du XX? siècle, au même titre que les Trétiakov, Mamontov, Riabouchinski et Chtchoukine. Leur soutien inconditionnel à l'art contemporain européen et russe contribuera largement à la reconnaissance internationale des peintres modernes français.‎

‎Philippon Lecoq - Designers Architectes d'intérieur 1955-1995‎

‎, Regard (Editions du), 2023 Hardcover, 250 pages, FR. edition, 315 x 250 x 30 mm, NOUVEAU, illustrations en couleur / n/b. ISBN 9782841054268.‎

‎Ce livre est la première monographie consacrée au duo d'architectes d'intérieur Philippon Lecoq. Le bureau d'étude d'Antoine Philippon et Jacqueline Lecoq s'impose de 1955 à 1995. Tout au long de la période des " Trente glorieuses ", ils imposent une pratique exigeante qui concerne l'architecture intérieure, la scénographie d'exposition, le design industriel, l'enseignement. Le bureau d'étude d'Antoine Philippon et Jacqueline Lecoq s'impose de 1955 à 1995. Tout au long de la période des " Trente glorieuses ", ils imposent une pratique exigeante qui concerne l'architecture intérieure, la scénographie d'exposition, le design industriel, l'enseignement. Ils participent aux salons nationaux et internationaux, se faisant reconnaitre pour leur militantisme professionnel et la défense d'une profession en devenir. Ils exposent au Salon des artistes décorateurs, au Salon des arts ménagers, à l'exposition internationale de Bruxelles en 1958, à la Triennale de Milan et dans de nombreuses manifestations d'importance. Ce livre rend hommage aux industriels qui les ont soutenus dans l'élaboration de leurs multiples projets produits en série, favorisant leur exploration de nouveaux usages et de nouvelles techniques : en France : d'Henry Mouraux à Airborne, le Mobilier national, Formica et les Glaces de Boussois. A l'étranger, en Allemagne en particulier : Bofinger, Erwin Behr, Lauser, etc. Leurs réalisations se distinguent par un ancrage dans la durée, un engagement sans concessions. Ce livre est la première monographie consacrée au duo d'architectes d'intérieur Philippon Lecoq.‎

‎Ponce Pilate. La construction d?une figure dans la littérature patristique et apocryphe‎

‎, Brepols - Institut d'Etudes Augustiniennes, 2023 Paperback, 878 pages, Size:165 x 245 mm, Language(s):French, Greek, Latin. ISBN 9782851213075.‎

‎Summary This monograph is the first study to highlight the plasticity of the figure of Pilate across Christian literature of the first millennium, as transmitted in Greek, Latin, Coptic, Syriac, Ge'ez, Armenian, Georgian, Slavic and Arabic. The name of the person Pilate is present in the memoirs and in the confessions of faith for the role of this Roman praefectus of Judea in the central event of Christianity which is the death sentence of Jesus of Nazareth. However, we only know his character as it was constructed by the authors of the first century - the Jewish writers, the authors of the Gospels which have become canonical or of the texts called apocrypha. It is from these sources that the authors of the patristic period elaborate figures of Pilate based on their analysis of his role in the Passion. Like the emperor depicted in the apocryphal texts, they in turn put Pilate on trial: how could the human judge judge the Judge of the universe? Who is responsible for the death of Jesus? Even though it is very largely sullied in the medieval West, the triune figure of Pilate as governor, judge and Roman is enriched with the features of the informant, of the evangelizer of the emperor, and even of the martyr and the saint. Cette monographie est la première étude mettant en évidence la plasticité de la figure de Pilate à travers la littérature chrétienne du premier millénaire, transmise en grec, latin, copte, syriaque, guèze, arménien, géorgien, slave et arabe. Le nom de la personne Pilate est présent dans les mémoires et dans les confessions de foi pour le rôle de ce préfet romain de Judée dans l'événement central du christianisme qu'est la condamnation à mort de Jésus de Nazareth. On ne connaît pourtant de lui que le personnage construit par les auteurs du Ier siècle - les écrivains juifs, les auteurs des évangiles devenus canoniques ou des textes appelés apocryphes. C'est à partir de ces sources que les auteurs de la période patristique élaborent des figures de Pilate fondées sur leur analyse de son rôle dans la Passion. Tels l'empereur mis en scène dans les textes apocryphes, ils font à leur tour le procès de Pilate : comment le juge humain a-t-il pu juger le Juge de l'univers ? Qui est responsable de la mort de Jésus ? Alors même qu'elle est très largement noircie dans l'Occident médiéval, la figure trine de Pilate comme gouverneur, juge et Romain s'enrichit des traits de l'informateur, voire de l'évangélisateur de l'empereur, et même du martyr et du saint. TABLE OF CONTENTS Introduction Première partie. Ponce Pilate, de la Judée à l'Empire Chapitre 1. Procurante Pontio Pilato Iudaeam (Lc 3, 1) Chapitre 2. L'apparition de la formule « sous Ponce Pilate » Deuxième partie. Gouverneur, juge et Romain : Figures de Pilate dans l'exégèse ancienne Chapitre 3. L'élaboration discrète, mais réelle, d'une figure de Pilate chez Origène et son utilisation exégétique Chapitre 4. Justicier et prophète issu des Nations : une figure originale de Pilate chez Éphrem de Nisibe Chapitre 5. Pilate iudex gentium chez Hilaire de Poitiers Chapitre 6. Une double figure de Pilate chez Ambroise de Milan Chapitre 7. Jérôme de Stridon : des figures de Pilate différentes selon les ?uvres Chapitre 8. Augustin ou toute la vérité sur Pilate Chapitre 9. Un Romain faible et compromis : Pilate dans l'?uvre de Jean Chrysostome Chapitre 10. Pilate entre crainte et moquerie face à la royauté de Jésus chez Théodore de Mopsueste Chapitre 11. Le Pilate johannique de Cyrille d'Alexandrie Chapitre 12. L'élaboration de la figure de Pilate chez les auteurs latins de la période patristique, de Cyprien de Carthage à Isidore de Séville Chapitre 13. L'élaboration de la figure de Pilate chez les auteurs grecs de la période patristique, d'Athanase d'Alexandrie à Théodoret de Cyr Troisième partie. Pilate apocryphe Chapitre 14. Pilate dans les réécritures de la Passion Chapitre 15. Pilate après la Passion : la vallée du Rhône et la vallée du Nil Quatrième partie. Pilate acteur et auteur Chapitre 16. Trois gestes extra-canoniques de Pilate dans la tradition patristique et apocryphe Chapitre 17. Pilatusschriften Chapitre 18. Lectures de Lc 13, 1 : le massacre des Galiléens par Pilate Chapitre 19. Lectures de Mt 27, 19 : le songe de la femme de Pilate Chapitre 20. Lectures de Mt 27, 24 : le lavement des mains Chapitre 21. Lectures de Jn 19, 19-22 : la rédaction du titulus par Pilate Cinquième partie. Pilate dans la vie des Églises Chapitre 22. Pilate dans la liturgie des Églises chrétiennes Synthèse et conclusion Indices Bibliographie Index biblique Index locorum Index dierum Index nominum‎

‎Brussels creative city : architectuur, urbanisme, design, mode, kunst, cultuur‎

‎, Snoeck, 2013 softcover , ill, text in Nederlands. 244pp, Afmetingen: 16,5 x 19,5 cm . ISBN 9789461611215.‎

‎Brussel is niet alleen de politieke hoofdstad van Europa maar ontpopt zich zeer nadrukkelijk als creatieve hotspot en trendsetter in design. Ontwerpers, shops, galerijen, architecten vinden na Milaan, Londen en Berlijn nu ook de weg naar Brussel. Het event Design September (5-30/9) is, met niet minder dan 100 culturele en commerciele events, een must geworden voor iedereen die van design houdt. Dit boek geeft een overzicht van de places-to-be voor ?design in Brussels? : van leuke shoppingadressen tot galerijen en gebouwen waar je echt moet geweest zijn.‎

‎Breughel et leur entourage: dans les collections du musées franc-comtois‎

‎, Musee des Beaux-Arts 1996, 1996-1998 Paperback, 16 pages, Texte en Francais , 285 x 240 mm, . ISBN 9782910598075.‎

‎Ritual, Gender, and Narrative in Late Medieval Italy. Fina Buzzacarini and the Baptistery of Padua‎

‎, Brepols, 2020 Hardback, 384 pages, Size:225 x 280 mm, Illustrations:188 col., Language: English. ISBN 9782503579689.‎

‎Summary Ritual, Gender, and Narrative in Late Medieval Italy is the first English-language study of the baptistery of Padua and its extraordinarily rich fresco program, which opens with Genesis and closes with the Apocalypse. Remarkably, when the building was refashioned and frescoed by Giusto de' Menabuoi in the 1370s, it was a woman, Fina Buzzacarini, who funded the enterprise. In late medieval Italy, baptisteries were potent symbols of civic identity, solidarity, and pride, and towns spent lavishly on them - but no other baptistery was so radically reworked at the behest of a woman. Remarkably, too, though the building continued to function as Padua's baptismal church, the renovations transformed it into the mausoleum of Fina Buzzacarini and her family. This volume takes an interdisciplinary approach, using close visual analysis to argue that to a surprising degree, Fina exerted control over the images. The author argues too that ritual is equally important in understanding the frescoes: that in multiple ways that have rarely been considered, the images respond to and participate in the ritual enacted in this sacred space. The prayers intoned at the font, the actions of the officiant, the hymns chanted in procession and inside the baptistery, and even details of the rite all find visual echoes on the baptistery's walls. Ultimately, gender and ritual intersect in the multilayered frescoes of the Padua baptistery. TABLE OF CONTENTS Introduction Chapter 1 Fina Buzzacarini in Carrara Padua Local chroniclers say little about Fina, but recount one salient aspect of her life: after marrying Francesco I Carrara in 1345, she failed for over a decade to produce the requisite son and heir. After crises at court over succession, in 1359 she gave birth to a son. Though the couple's marriage was strained by her husband's blatant philandering, previously overlooked records show that Fina, a very wealthy woman, gradually emerged as a powerful presence at court. While some have minimized the degree of Fina's responsibility for the baptistery's program, I cite a number of documents from the later trecento that attest to a woman's ability to shape the subject matter of a work that she funded. I next discuss Fina's tomb monument, which emulates those of earlier Carrara lords but outshines them, and her votive portrait, which places her on the dexter side, as sole donor, and excludes her husband. Finally, I consider the extraordinary small portraits of Fina inserted into several of the narratives and interpret them as assertions of her authority, overt claims of agency, injected through the program. Chapter 2 Baptistery as Mausoleum: Ambitions and Motivations Why would Fina have sought the baptistery as a burial site, and why did Francesco and the local bishop, whose approval would have been required, agree? The sacred space of a baptistery had long been understood as a desirable funerary site. For Francesco, the project meant the embellishment of one of the most important buildings in the city, burnishing the stature of the regime; co-opting the preeminent symbol of civic harmony; and creating a prestigious-and presumably spiritually advantageous-setting for his own tomb. For the bishop, given the brief tenures of his predecessors who dared to cross Francesco, attempting to thwart the project was not a viable option. Fina likely had reasons of her own, which I consider further in Chapter 6, for choosing the baptistery as her burial place. Here I note that baptisteries were uncommonly welcoming to women. The rite offered them a rare opportunity to participate in the liturgy: women took their place at the font next to men. Finally, in electing her burial in the baptistery, Fina insured that her tomb would be seen, and her memory preserved, by future generations. Chapter 3 Narrative, Ritual, Exegesis: The Genesis Cycle This chapter opens with an account of the baptismal ritual as performed in late medieval Italy- the choreography of prayers, chants, readings, ritual actions, and attendant customs for both the solemn rite and the individual rite. The rest of chapter 3, and chapters 4 and 5, analyze the frescoes in the narrative cycles, arguing that they are as carefully choreographed as the rite, and work in concert with it. They respond as well to baptismal theology, depicting themes that offer pictorial glosses on the rite, echoing typological parallels drawn by medieval exegetes. The Genesis cycle in the drum of the dome includes narratives both familiar and more obscure (the Death of Adam; Lamech Slaying Cain; Jacob's Prayer after his Dream; Jacob's Rods; the Reunion of Jacob and Esau). The obscure episodes are distinctly baptismal, and even the familiar ones are rendered in unusual ways that heighten their baptismal resonance. Chapter 4: Narrative, Ritual, Exegesis: The New Testament Cycle The baptismal themes introduced in the drum continue below, in the New Testament cycle, where the frescoes are often strategically sited to respond to others, each accruing meaning from those nearby. Because of these pictorial and thematic correspondences, it is most productive to analyze the frescoes spatially, wall by wall, rather than purely chronologically. While most of the New Testament episodes depicted here are commonly seen in trecento visual narrative, almost all have been adapted in ways that make them singularly appropriate to the site. For instance, in the Massacre of the Innocents, the slain babies, normally shown nude in trecento painting, wear white tunics that evoke the white garments given to infants after baptism; the jugs in the Marriage of Cana are enlarged versions of the ewer used in the baptismal rite. Chapter 5: Narrative, Ritual, Exegesis: The Apocalypse Cycle In the baptistery's apse is a remarkably detailed depiction of the book of Revelation, a subject seldom seen in trecento painting and never on this scale. The choice was well considered: from late antiquity into late medieval Italy, exegetes found in the text repeated allusions to the sacrament. Again, uncommon narrative inclusions, such as the opening of the fifth seal, with the giving of white garments to the souls under the altar, or idiosyncratic features, like the setting of scenes in dramatic seascapes that attest to the salvific potency of water, highlight the relationship between the images and the rite enacted here. Chapter 6: Gender Matters: Maternity, Sexuality, and Visual Rhetoric If the Padua baptistery is a site for the celebration of the liturgy, it is also a site for the celebration, and commemoration, of its patron. Chapter 6 returns to the visual evidence to examine Fina's role in the baptistery more closely. The gender symmetry of the dome, where women and men appear in equal numbers in the largest circle of Paradise, is suggestive. So is the Genesis cycle's insertion of women into the narrative, at times almost rewriting sacred history to insist on their active participation at critical junctures. Moreover, many of the women featured in the dome and the drum are, unlike most women in the Christian pantheon, mothers - significantly, mothers of sons. Several (Sarah, Rebecca, Rachel, Elizabeth) conceived and delivered sons only after a long delay. Important, too, is the Apocalyptic Woman of Rev. 12, prominently depicted in the apse, who gave birth to a son born to rule. All of these women serve as Fina's exemplars - and as reminders of her success in delivering her own long-awaited son. Finally, the frescoes also feature malevolent, and specifically sexually transgressive, women: Herodias, the wife of Lot, and the Whore of Babylon; all are visually juxtaposed with virtuous mothers, and Herodias, who had an adulterous relationship with a ruler, with Fina herself.‎