48/14, La revue du musée d'Orsay, issue # 18, Spring 2004

48/14, La revue du musée d'Orsay
Collectif, Serge Lemoine, direction
Polychromy
Musée d'Orsay / Réunion des musées nationaux - 2004
soft cover
French
€ 11 - available

Actualités (News)


Exhibitions

  • Facing the Other, Charles Cordier, Ethnographic sculptor
  • Gallery of photography : Landscapes and Nature ; War Photographs
  • Jongkind
  • Hand With Seaweeds and Shells, Emile Gallé's Artistic Testament
  • Józef Mehoffer


The Musée Hébert
Programmation of the auditorium

Etudes (Research)


Evolution of the outlook on polychrome sculpture
by Emmanuelle Héran
Separated for a long time, sculpture and colour, the latter the painters' preserve, were reconciliated during the 19th century, when antique uses where restored. But this reunion was not without controversy and resistance. "Colour sculpture" is indeed on the fringe of art, too near illusion and trompe-l'oeil not to scare guardians of ideal beauty.

Another polychromy: plaster with patina, bronzes and ceramic sculptures by Jean-Joseph Carriès
by Edouard Papet
Sculptor of the famous Faune and creator of Horror Masks of Japanese inspiration, Jean-Joseph Carriès (1855-1894) was one of the most committed and inventive enthusiasts of polychromy, using singular varieties of patina and enamelled sandstone with the same liberty. The self-proclaimed Velasquez of sculpture inscribed his thoroughly picaresque eloquence in the history of symbolism.

"Struggling with Colour". Reproducing polychromy in photography
by Dominique de Font-Réaulx
Reproducing colours was at the heart of the first photographers' preoccupations. Yet the rendering of artworks in black and white reached a quality that satisfied artists, Gérôme and Cordier in particular. The controversy was less about the quality of tones than of values and the ability to render the different frequencies of the spectrum colours.

"Une florule anthologique": Gallé and Glass Marquetry.
by Philippe Thiébaut
The chromatic experiments Gallé ceaselessly undertook reveal "new necessities of expression". Coloured contrasts or harmonious nuances, oppositions of matt and brilliant finish, of smooth and rough surfaces: all processes that led to a language whose hold on imagination singularly enlarged the power of seduction of glassy matter.



Manifestation


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