Getting to know about health and safety related to products used in painting, drawing and printmakin

Practicing art is not a high risk activity. This statement, along with the creative, expressive and intangible aims of this activity, as well as the lack of information, promotion of safety awareness and training of thepeople in charge of art studios, may have pushed the implications of practicing art as regards health, safety and environment into the background. Faced with this prospect, a comprehensive study of the facilities and the activities carried out in art studios becomes necessary. The study concerns experimental activities involving Health and Safety risks for both the artists and the teachers and students, especially those carried out in the studios located in educational institutions.

Les natures mortes de Paul Gauguin: une production picturale méconnue

Gauguin's first attempts at still-life painting, around 1875, followed the Dutch tradition, influenced mainly by Manet's palette. But he did take occasional liberties in depicting flowers with more fluid colour and dynamic backgrounds. From 1879 his style shows the influence of the Impressionists: Pissarro in the landscapes and Degas in the composition of his still-lifes. He was also open to the new trends which were developing among artists in Paris and applied them in his paintings, using still-lifes as his main means for testing them. He did not escape the contemporary fascination with Japonism, and even experimented briefly with Pointillism in Still Life with Horse's Head. His stays in Britain between 1886 and 1890 correspond to an extremely rich and innovative period for him, in which still-lifes served for increasing experimentation. "Fête Gloanec" and Three Puppies reflect his preoccupations: rejection of perspective, use of areas of flat colour, and mixed styles. These pictures amount to an aesthetic manifesto; many of them are also imbued with strong symbolism, as in the Portrait of Meyer de Haan, which is a melancholic reflection on the fall of man. In Still-Life with Japanese Print, frail blue flowers seem to come out of the head of the artist-martyr, a pure product of the painter's "restless imagination". Thus Gauguin showed that art is an "abstraction" through a genre which was reputed to lend itself with difficulty to anything other than mimesis. Although he moved away from still-life after 1890, Gauguin is one of the first artists to radically renew its role and the status of still-life at the end of the 19th century, well before the Fauvists and Cubists.

Le Portrait du peintre ou la Contre-critique de l'"École des femmes" (1663) : comédie en 1 acte et en vers / par Boursault ; avec une notice par le bibliophile Jacob

Collection : Nouvelle collection moliéresque ; 4

Color sensation in figurative painting

The figurative painter accesses very complex levels of knowledge. To produce a painting requires, first, a deep analysis of the image of the reality and, afterwards, the study of the reconstruction of this reality. This is not about a process of copying, but a process of the comprehension of the concepts that appear in the representation. The drawing guides us in the process of the production of the surface and in the distribution of the colours that, after all, are the data with which the vision mechanism builds the visual reality. Knowing the colour and its behaviour have always been a requirement for the figurative painter. From that knowledge we can draw wider conclusions.

Norbert Elias : una proposta d’intellectual portrait vint anys després de la seva mort

L’estiu de 1990 moria a Amsterdam un dels sociòlegs més preeminents del segle XX, l’alemany Norbert Elias. La seva vida i la seva obra, profundament imbricades, són un reflex de la complexitat, de les llums i les ombres del segle passat. Amb aquesta proposta de retrat intel·lectual pretenem per una banda commemorar l’efemèride dels 20 anys de la mort d’un sociòleg poc reconegut i poc emprat. I d’altra banda, oferir una introducció a un personatge i una obra que, per la seva magnitud i originalitat, mereixen estar entre les més rellevants de la sociologia. Com a fil conductor de l’article proposem una combinació de llocs físics i simbòlics que van marcar la seva trajectòria.

Édouard Rod : biographie critique, illustrée d'un portrait-frontispice et d'un autographe, suivie d'opinions et d'une bibliographie / par Firmin Roz

Collection : Les célébrités d'aujourd'hui

Jules Claretie : biographie critique illustrée d'un portrait-frontispice et d'un autographe / par Georges Grappe. suivie d'opinions et d'une bibliographie / [signé A.V.]

Collection : Les célébrités d'aujourd'hui