Étienne Dolet, the martyr of the renaissance, 1508-1546,

Mode of access: Internet.

Éléments d'archéologie chrétienne /

At head of title: Horace Marucchi.

Dictionnaire raisonné de diplomatique chrétienne : contenant les notions nécessaires pour l'intelligence des anciens monuments manuscrits /

Mode of access: Internet.

Dictionnaire d'épigraphie chrétienne : renfermant une collection d'inscriptions des différents pays de la chrétienté.

Mode of access: Internet.

Œuvres d'Étienne Falconet, statuaire; contenant plusieurs écrits relatifs aux beaux arts, dont quelques-uns ont déja paru, mais fautifs: d'autres sont nouveaux ...

Vol. 3-4 have title: Notes sur trois livres de Pline l'ancien, où il traite de la peinture et de la sculpture. On y a joint la traduction de ces mêmes livres, comme piece justificative des Notes, pour ceux qui ne lisent pas l'auteur dans sa langue. Plusieurs de ces Notes sont fondées sur un manuscrit d'autant plus rare qu'il paroît ignoré des savans, jusqu'à ce jour ...

Annales de philosophie chrétienne. Recueil périodique destiné a faire connaître tout ce que les sciences humaines renferment de preuves et de découvertes en faveur du Christianisme ...

Mode of access: Internet.

An alphabet of tales : an English 15th century translation of the Alphabetum narrationum of Étienne de Besançon /

Formerly attributed to Étienne de Besançon but apparently the work was not composed until some years after his death in 1292; more probably by Arnoldus of Liége. cf. Catalogue of romances in the Department of Manuscripts in the Brit. Museum, v. 3, p. 423-438; The Library, Jan. 1905, p. 94-101.

La morale chrétienne d'apreès les conciles des Xe et XIe siècles

Caption title.

Esprit Futur : Le Corbusier and José Oubrerie at Saint-Pierre De Firminy, Firminy-Vert, France, 1968–2006

What is the secret mesmerism that death possesses and under the operation of which a modern architect – strident, confident, resolute – becomes rueful, pessimistic, or melancholic?1 Five years before Le Corbusier’s death at sea in 1965, the architect reluctantly agreed to adopt the project for L’Église Saint-Pierre de Firminy in Firminy-Vert (1960–2006), following the death of its original architect, André Sive, from leukemia in 1958.2 Le Corbusier had already developed, in 1956, the plan for an enclave in the new “green” Firminy town, which included his youth and culture center and a stadium and swimming pool; the church and a “boîte à miracles” near the youth center were inserted into the plan in the ’60s. (Le Corbusier was also invited, in 1962, to produce another plan for three Unités d’Habitation outside Firminy-Vert.) The Saint-Pierre church should have been the zenith of the quartet (the largest urban concentration of works by Le Corbusier in Europe, and what the architect Henri Ciriani termed Le Corbusier’s “acropolis”3) but in the early course of the project, Le Corbusier would suffer the diocese’s serial objections to his vision for the church – not unlike the difficulties he experienced with Notre Dame du Haut at Ronchamp (1950–1954) and the resistance to his proposed monastery of Sainte-Marie de la Tourette (1957–1960). In 1964, the bishop of Saint-Étienne requested that Le Corbusier relocate the church to a new site, but Le Corbusier refused and the diocese subsequently withdrew from the project. (With neither the approval, funds, nor the participation of the bishop, by then the cardinal archbishop of Lyon, the first stone of the church was finally laid on the site in 1970.) Le Corbusier’s ambivalence toward the project, even prior to his quarrels with the bishop, reveals...

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.

I Cling to Virtue

Kular’s work centres on design as a means of engaging with social and cultural issues. Commissioned and exhibited by the V&A Museum, this was a mixed-media collection revealing the trajectories of the Lövy-Singh clan, a fictional East London family of mixed descent. It comprised 26 sculptures and two video pieces, developing the previous explorations of the MacGuffin in narrative (Kular REF Output 2). A catalogue with 28 fictional reminiscences, a genealogy and time line positioned the family’s experiences in geographical locations and historical events. Novel use of rapid-prototyping co-opted an industry process to confuse the experience of artefact and artifice. The design explored the historical, literary and cinematic traditions of the family saga and its relationship to memory and artefact. It presented an archive of objects derived from the flawed, biased memory of the (fictional) curator. A coherent story is replaced by one that is multiple and fragmentary. Kular and Toran (RCA) ‘produced’ the family by mixing their own genealogies with those of renowned 20th-century families, both real and fictional, such as the Magnificent Ambersons and the Rothschilds, positioning family members in everyday situations or key historical moments represented by an object and a ‘memory’ triggered by the object. Concept development was undertaken jointly by Kular and Toran. Kular’s archive research emphasised commonwealth immigrant histories and British 20th-century political events. His production contribution was in 3D modelling, rapid prototyping and display, leading production of the two films and development and editing of the narrative texts. The work was accompanied by a catalogue (2011), was reviewed in ICON Magazine (2010), discussed in an article by Hayward, Jones, Toran and Kular in Design and Culture (2013), and featured in The White Review (No. 2). It was re-exhibited in the group show ‘Politique Fiction’ at la Cité du design, Saint-Étienne, France (2013).

La Révolution française : revue historique...

1914/01 (T66)-1914/07.

La Révolution française : revue historique...

1903/07 (T45)-1903/12.