WorldCat Identities

Vovelle, José

Overview
Works: 60 works in 98 publications in 1 language and 403 library holdings
Genres: History  Conference proceedings  Exhibition catalogs 
Roles: Author, Editor, Publishing director, Thesis advisor, zxx
Classifications: NX555.A1, 709.04
Publication Timeline
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Most widely held works by José Vovelle
Le surréalisme en Belgique by José Vovelle( Book )

10 editions published between 1968 and 1972 in French and held by 152 WorldCat member libraries worldwide

Un Art sans frontières : l'internationalisation des arts en Europe, 1900-1950 : actes de la table ronde internationale réunie au centre Malher, le 23 et le 24 octobre 1992 by Gérard Monnier( Book )

10 editions published in 1994 in French and held by 87 WorldCat member libraries worldwide

L'objet et l'art contemporain by José Vovelle( Book )

3 editions published in 1990 in French and held by 21 WorldCat member libraries worldwide

Les artistes suédois à Paris, 1908-1935 tradition, modernisme et création by Frank Claustrat( Book )

2 editions published between 1994 and 1995 in French and held by 7 WorldCat member libraries worldwide

THE THIRD GOLDEN AGE OF SWEDISH ARTISTS IN PARIS BEGINS WITH THE ARRIVAL IN THE CITY OF MATISSE'S FUTURE STUDENTS IN 1908. IT DESAPPEARS WITH THE CLOSING OF THE "MAISON WATTEAU", A REAL SCANDINAVIAN ACADEMY, ARTISTIC CENTER SETTLED IN THE HEART OF MONTPARNASSE, IN 1935. AFTER AN APPRENTICESHIP IN A FREE ACADEMY (COLAROSSI, GRANDE CHAUMIERE, LA PALETTE, THE RUSSIAN ACADEMY, THE MATISSE ACADEMY, THE LHOTE ACADEMY, THE MODERNE ACADEMY, ETC...), SWEDISH ARTISTS SHARE THEIR PART IN BUILDING UP CONTEMPORARY ART, AT VARIOUS STAGES, AND THROUGHOUT MOVEMENTS SUCH AS NATURALISM, CALSSICISM, NEO-REALISM, EXPRESSIONNISM, GEOMETRICAL ABSTRACTION, SURREALISM... AMONG THOSE, JEAN BORLIN IS AN UNRIVALLED PERSONNALITY. FIRST DANCER IN THE BALLETS SUEDOIS ESTABLISHED BY ROLF DE MARE, AND CREATOR OF THE FREE DANCE, HE IS ABLE, FOR EACH BALLET, TO CHANGE HIMSELF EITHER INTO A NEGRO OR A JAVANESE SCULPTURE, AND EVEN INTO A REAL ABSTRACT CONSTRUCTION. FRENCH AUTHORITIES DIDN'T BACK MUCH SWEDISH ARTISTS AND ONLY A VERY FEW OF THEIR WORKS ARE REPRESENTED IN FRENCH PUBLIC COLLECTIONS. SO MODEST ARE COLLECTORS, PRESS AND ART DEALERS' ENTHOUSIASM. STANDING ALONE, BUT WITH SUCH A SUCCESS, THE GREAT SWEDISH ART DEALER GOSTA
La Diffusion du surréalisme dans les pays néerlandophones : 1920-1950 by José Vovelle( Book )

2 editions published in 1984 in French and held by 6 WorldCat member libraries worldwide

Les prêtres mariés sous la Révolution française by Xavier Marechaux( Book )

3 editions published in 1995 in French and held by 6 WorldCat member libraries worldwide

THE MARRIAGE OF PRIESTS DURING THE FRENCH REVOLUTION IS IN PART THE RESULT OF A LONG DEBATE DATING FROM THE BEGINNING OF THE EIGHTEENTH CENTURY ON THE PROS AND CONS OF MARRIAGE OF THE CLERGY. THIS DEBATE WAS TRANSLATED INTO LEGISLATIVE ACTION, NOTABLY DURING THE YEAR 2, BY DECREES THAT PROTECTED MARRIED PRIESTS BUT DID NOT, AS IS COMMONLY THOUGHT, IMPOSE MARRIAGE ON THE CLERGY. THIS LATTER PHENOMENON WAS ESSENTIALLY THE RESPONSIBILITY OF LOCAL AUTHORITIES LED BY THE REPRESENTATIVES ON MISSION FROM THE CONVENTION. THE MARRIAGE OF PRIESTS IS AN IMPORTANT PHENOMENON THAT AFFECTED CLOSE TO 6000 INDIVIDUALS, NEARLY A QUARTER OF THE CONSTITUTIONAL CLERGY. HOWEVER, THE IMPACT OF THESE MARRIAGES SEEMS LIMITED IF ONE NOTES THAT 43 PERCENT OF THESE PRIESTS WERE NOT ACTIVE BEFORE THE REVOLUTION AND THAT NEARLY 70 PERCENT WERE MARRIED DURING THE YEAR 2, A PERIOD DURING WHICH THE CONVENTION'S REPRESENTATIVES ON MISSION WERE IMPOSING MARRIAGE ON PRIESTS AS PART OF THE REPUBLIC'S CAMPAIGN OF DECHRISTIANIZATION. DESPITE THE CONTINGENCIES OF DECHRISTIANIZATION, THE MARRIAGE OF PRIESTS REVEALS A CHANGE IN MENTALITIE AT THE END OF THE EIGHTEENTH CENTURY, ESPECIALLY WHEN ONE CONSIDERS THAT PRIESTS WHO WERE MARRIED WERE NOT LATER REJECTED BY FRENCH SOCIETY. IN EFFECT, THE GREAT MAJORITY OF THEM SUCCEEDED IN REENTERING THE CLERGY AND SOME OF THEM OCCUPIED IMPORTANT PLACES UNDER THE EMPIRE AND AT TIMES AVEN UNDER THE RESTORATION
La photographie pictorialiste en France, 1892-1914 by Michel Poivert( Book )

3 editions published between 1992 and 1994 in French and held by 6 WorldCat member libraries worldwide

Pyke Koch : réalisme magique aux Pays-Bas by Pyke Koch( Book )

1 edition published in 1995 in French and held by 6 WorldCat member libraries worldwide

Balthus et l'extrême-Orient by Xiaozhou Xing( Book )

1 edition published in 1997 in French and held by 5 WorldCat member libraries worldwide

Les revues d'art de l'entre-deux-guerres à Paris by Yves Chevrefils Desbiolles( Book )

3 editions published between 1991 and 1992 in French and held by 5 WorldCat member libraries worldwide

BY TAKING INTO ACCOUNT THE LEADING PAPERS PUBLISHED BY MORE THAN 70 PARISIAN ART MAGAZINES BETWEEN 1919 AND 1939 (DADAIST, SURREALIST AND "ESPRIT NOUVEAU" MAGAZINES ; MAGAZINES DEVOTED TO ABSTRACT OR SACRAL ART ; MAGAZINES OR BULLETINS PUBLISHED BY ART GALLERIES ; SCHOLARLY MAGAZINES ; MAGAZINES ON CONVENTIONAL ART ; POPULAR ART MAGAZINES...), THE THESIS RELATES THE HYSTORY AND DEVELOPMENTS OF THIS KIND OF PUBLISHING
La répétition d'images et d'objets du dadaïsme au pop art (des années dix aux années soixante) by Jin-Kyeong Oh( Book )

2 editions published in 1993 in French and held by 5 WorldCat member libraries worldwide

THE REPETITION OF IMAGES AND OF OBJECTS IS A REMARKABLE AND CONSTANT PHENOMENON IN THE MODERN AR. WE CAN DEFINE THREE CATEGORIES OF WORKS OF ART IN WHICH THE REPEATED IMAGES AND OBJECTS APPEAR. FIRST, THE ICONOGRAPHICAL SIGNIFICANCE OF THE REPETITION DUE TO THE TECHNIQUES OF REPRODUCTION CONNECTED WITH THE MODERN INDUSTRIAL SOCIETY ; SECOND, THE FORMAL ABSTRACT EFFECT OF THE REPEATED FIGURATIVE IMAGES OR OBJECTS ; THIRD, PSYCHOLOGICAL EFFECT OF THE REPETITION : FEELINGS OF STRANGENESS, ANGUIHS AND OBSESSION. IN MODERN ART, THE ARTISTS USE THE MONOTONOUS REPETITION TO SEARCH FOR THEIR OWN ARTISTIC LANGUAGE AND TO PRODDUCE, PARADOXICALLY, A VARIATION OF STYLE. EVEN THOUGH IT IS A MATTER OF THE STEREOTYPED AND DEPERSONALIZED REPETITION, AS LONG AS THERE IS A WILL OF ARTISTS TO PURSUE THE AESTHETIC AND PLASTIC INVESTIGATIONS AND EXPERIMENTATIONS, THE WORKS OF ART WILL ALWAYS HAVE THE VALUE OF ORIGINALITY AND OF UNIQUENESS
La politique artistique française des années trente étude des expositions en France et à l'étranger by Catherine S Amidon( Book )

2 editions published between 1992 and 1993 in French and held by 5 WorldCat member libraries worldwide

"FRENCH ART AND POLITICS IN THE THIRTIES : A STUDY OF FRENCH AND FOREIGN EXHIBITIONS" IS AN ANALYSIS OF : PAINTINGS IN THE CONTEXT OF EXHIBITIONS, THE POLITICAL IDEOLOGIES OF THOSE WHO PLANNED THESE CULTURAL EVENTS, AND THE COMMENTARIES OF THEM BY CRITICS THE WARS. THE EVOLUTION OF A SYSTEM OF EXHIBITIONS IN FRANCE, AND THE DIFFUSION OF THE VALUES IT EMBRACED, DEVELOPED AT THE SAME TIME AS ANALOGOUS INSTITUTIONS IN OTHER COUNTRIES. THE NATIONAL SYSTEMSCONTROLED IN FRANCE BY NON-ELECTED CIVIL SERVANTS - PROVIDED POLITICALLY CHARGED INPUT INTO THE INTERNATIONAL SYSTEM. IN FRANCE THE WORKS AND THE EXHIBITIONS WERE USED AS TOOLS TO DEAL WITH THE SOCIAL CRISIS AND DEPRESSION. THE IMAGE OF ARTISTIC STABILITY CONSTRASTS WITH THE SOCIAL AGITATION OF PROTESTS IN THE STREETS IN 1934 AND THE TAKE-OVERS AT THE BUILDING SITE OF THE EXPOSITION UNIVERSELLE IN PARIS IN 1937. FRANCE, ITALY AND GERMANY ARE THE PRINCIPAL COUNTRIES IN THIS STUDY, ALTHOUGH THE UNITED STATES AND ENGLAND ARE ALSO ESSENTIAL TO THE UNDERSTANDING OF THE PROBLEMS SPECIFIC TO INTERNATIONAL EXHIBITIONS WITH A DIRECTIVE INFLUENCE ON WORLD POLITICS. THIS STUDY OF EXHIBITIONS IN THE THIRTIES PERMITS THE CONSIDERATION OF DIFFERENT AND OTHERWISE UNDEFINABLE ASPECTS OF FRENCH CULTURE BETWEEN THE WARS ESSENTIAL TO UNDERSTANDING ITS' ART AND POLITICS
Place, rôle et importance de la non-spécialisation dans l'histoire du surréalisme et de la peinture by Anne Egger( Book )

2 editions published between 1998 and 1999 in French and held by 4 WorldCat member libraries worldwide

THIS WORK IS BASED ON THE CATALOGUE RAISONNE THAT INVENTORIES THE PLASTIC WORKS OF THE FIRST GENERATION OF FRENCH SURREALIST POETS (1919-1966), AS WELL AS THAT OF THEIR WOMEN PARTNERS, AT THE TIME THEY BELONGED TO THE MOVEMENT. THUS, MORE THAN 920 EXAMPLES, EVERY FORM OF TECHNIQUE INCLUDED, HAVE BEEN FOUND IN 21 NON-PLASTICIAN ARTISTS. THE QUANTITY AND THE DIVERSITY OF THESE REALISATIONS - NEITHER WORKS OF ART, NOR AESTHETIC OBJECTS NOR SIMPLE FORMS OF LEISURE HAVE BROUGHT US TO WONDER ABOUT THE EXISTENCE AND THE EFFICIENCY OF NON SPECIALISATION IN SURREALISM. THE CORPUS IS BASED ON THE ONE HAND ON AN OBVIOUS PRACTICE SYSTEMATISED BY THE POETS, AND ON THE OTHER HAND, ON THE INDIVIDUAL CHARACTERISTICS OF THE REALISATIONS OF EACH AUTHOR. THESE INDIVIDUAL AND COLLECTIVE CREATIONS, OSCILLATING BETWEEN THE SERIOUS AND THE NON SERIOUS OFTEN MIX VERBAL AND VISUAL SIGNS AND REVEAL A DOUBLE COURSE OF ACTION, BOTH LUDICROUS AND EXPERIMENTAL. THESE PRODUCTS, WHICH ARE OMNIPRESENT IN THE SUPPORTS OF THE MOVEMENT AND WHICH ARE LEGITIMISED BY THE LATTER, CONFIRM A DIFFUSION STRATEGY. BUT THIS APPARENTLY CHARACTERISTIC APPROACH OF THE MOVEMENT - LIKE FOREIGN FORMATIONS - DOES NOT APPEAR IN THE THEORETICAL TEXTS OF SURREALISM. OUR RESEARCH FOCUSES ON THIS ORIGINAL AMBIGUITY. TO UNDERSTAND THE ABSENCE OF AN OFFICIAL DISCOURSE, DELIMIT THE SPACE OF NON SPECIALISATION AND DEFINE THE STATUS OF THESE AMATEUR PRACTICES, WE HAD TO RE-EXAMINE THE HISTORY OF SURREALISM IN ITS GENERAL OUTLINES THIS STUDY BRINGS US TO A PARALLEL HISTORY OF THE MOVEMENT WHICH USED TO ADVOCATE, IN THE NAME OF A POETRY MADE BY EVERYONE, THE MIXTURE OF THE GENRES AND THE REVERSIBILITY OF THE ROLES... IF SURREALISM OFFERS A FIRST APPROACH OF THE ECLECTICISM AND THE EXPLOSION OF THE ARTISTIC COURSES OF ACTION AS WELL AS A MOVEMENT OF UNIQUE SYNERGY BETWEEN POETRY AND ART, WE CAN THEREFORE SAY THAT THE ABSENCE OF A CONSENSUS COMBINED WITH THE IMPOSSIBILITY TO TOTALLY ABOLISH THE SPECIFICITY OF TALENT MAY EXPLAIN THE HISTORICAL MARGINALIZATION OF NON SPECIALISATION AMONG THE FRENCH MOVEMENT ITSELF
Jane Graverol by René de Solier( Book )

3 editions published in 1974 in French and held by 4 WorldCat member libraries worldwide

La photographie autochrome en France (1904-1931) by Nathalie Boulouch( Book )

2 editions published between 1994 and 1995 in French and held by 4 WorldCat member libraries worldwide

THE AUTOCHROME WAS PRESENTED AT THE ACADEMIE DES SCIENCES IN 1904 AND MARKETED BY THE SOCIETE A. LUMIERE ET SES FILS THREE YEARS AFTER. IT WAS THE FIRST INDUSTRIAL PROCESS OF COLOR PHOTOGRAPHY OFFERED TO THE PUBLIC. ITS INVENTION INHERITED FROM TECHNICAL PROGRESS, SCIENTIFIC DICOVERIES IN PHYSIOLOGY OF COLOUR VISION, AND AESTHETIC THEORIES OF THE LAST THIRD OF THE NINETEENTH CENTURY. THE STUDY OF AUTOCHROME PHOTOGRAPHY TAKES PLACE AT THE CROSSROADS OF THESE THREE DISCIPLINES. IT ALLOWS TO DEFINE THE MOMENT WHEN PHOTOGRAPHY CONQUERS THE LAST INGREDIENT STILL LACKING TO PERFECT COMPLETE REALISM : COLOUR. THE AUTOCHROME WAS IMMEDIATELY MONOPOLIZED FOR ITS HIGHER OBJECTIVITY IN DOCUMENTARY USE. IT FASCINATED AMATEUR PHOTOGRAPHERS WITH THE ILLUSIONNISM OF COLOUR ANE WAS ALSO USED BY ARTISTIC PHOTOGRAPHERS. ARTISTIC PRACTICE OF AUTOCHROME SOUGHT PLACE BETWEEN IMPRESSIONNISM AND PICTORIALISM. PHOTOGRAPHERS CLAIMED THAT THIS MECANICAL PROCESS, UNANIMOUSLY WELCOMED FOR ITS OBJECTIVES QUALITIES, CAN BE ARTISTIC. THEY STARTED A DEBATE WITHIN PICTORIALISM ADVOCATING SUBJECTIVE INTERPRETATION. ALTHOUGH IT DREW ITS INSPIRATION FROM A FORMER PICTURAL AESTHETICS, THE AUTOCHROME TOOK PART IN A DEBATE WHICH GENERATED MODERNIST PHOTOGRAPHY. NEVERTHELESS, THE NEW GENERATION OF PHOTOGRAPHERS NEGLECTED THIS PROCESS WHICH WAS TOO CONTRAINING AND COMPROMISED WITH A PAST VISION. THOUGH THE AUTOCHROME PROCESS WAS INNOVATIVE IN CONCEPTION AND RENEWED PHOTOGRAPHIC PRACTICE, IT WAS NOT ABLE TO CREATE A REAL NEW AESTHETICS
De l'artificialisme au surrealisme, Štyrský et Toyen, 1926-1934 by Françoise Caille( Book )

2 editions published between 2000 and 2001 in French and held by 4 WorldCat member libraries worldwide

LES PEINTRES J.STYRSKY (1899-1942) ET TOYEN (1902-1980) SONT DES FIGURES ESSENTIELLES DE L'AVENEMENT DU SURREALISME A PRAGUE. LE STYLE ARTIFICIALISTE, ENTRE FIGURATION ET ABSTRACTION, QU'ILS CREENT EN 1926 LORS DE LEUR SEJOUR PARISIEN, COMPORTENT DEJA DES SIGNES D'AFFINITES AVEC CETTE ORIENTATION FUTURE. TOYEN ELABORE DES ESPACES FLUIDES OU LA LIQUIDITE, SURGIE DES COMPOSITIONS COMME DES TECHNIQUES, EVOQUE L'IMMERSION DANS LA MATIERE COMME ON PLONGE AU FOND DE SOI-MEME. L'ESPACE ECLATE DE STYRSKY, PROFONDEMENT LIE A SA VISION DU MONDE S'ALLIE PEU A PEU A DES PROCESSUS DELETERES ET DEVIENT REVELATEUR DES PULSIONS DE MORT A L'OEUVRE DANS LA PEINTURE. LA DISTANCE QU'ILS MAINTIENNENT AVEC LE SURREALISME EST EN PARTIE LIEE A DES RESISTANCES A L'EGARD DE L'AUTOMATISME PSYCHIQUE QUI LEUR SEMBLE INCOMPATIBLE AVEC UNE PRATIQUE QUI MET L'ACCENT SUR LE GESTE, LA TECHNIQUE, LA MATIERE ET LA COULEUR. CEPENDANT, LEUR INTERET POUR LE REVE ET L'EROTISME CONSTITUENT DEUX CHAMPS OUVERTS SUR L'INCONSCIENT A TRAVERS LESQUELS ILS SE FRAIENT UN CHEMIN VERS LE SURREALISME. LES RECITS DE REVE DE STYRSKY APPARAISSENT COMME UN MATERIEL ESSENTIEL QUANT A LA COMPREHENSION DE SON OEUVRE ET PRESENTENT LES MEMES SIGNES QUE SON OEUVRE PLASTIQUE OU SES POEMES. LES PRODUCTIONS POETIQUES DE STYRSKY SONT MOINS SOUMISES A LA PREMEDITATION QUE SES TABLEAUX ; CONSTRUITES SUR DES ASSOCIATIONS LIBRES, ELLES PRENNENT UN ASPECT ENIGMATIQUE CARACTERISTIQUE DES TEXTES SURREALISTES. ENFIN, AVEC LES TEXTES POETIQUES EN PROSE DU DEBUT DES ANNEES TRENTE QUI CELEBRENT LE DESIR ET LA FEMME AIMEE, STYRSKY DEVELOPPE UNE THEMATIQUE PRIVILEGIEE DU SURREALISME. LA PEINTURE DE TOYEN EVOLUE VERS UN TRAVAIL SUR UNE MATIERE PLUS DENSE. ELLE DEVELOPPE DES IMAGES NOCTURNES, LIEUX FAVORABLES AU BROUILLAGE DES REPERES. COMME LE VIDE ET LA COUPURE SERVENT DE TOILE DE FOND AUX REVES DE STYRSKY, LE CREUX ET LA FISSURE DEVIENNENT LE THEATRE DES VISIONS ONIRIQUES DE TOYEN ET CONTIENNENT UNE DIMENSION EROTIQUE MANIFESTE. L'EVOLUTION DE LA PEINTURE DE TOYEN ET STYRSKY PASSE PAR UN ABANDON DES STRUCTURES PLANES DE L'ARTIFICIALISME POUR DES IMAGES PLUS REALISTES ET ILLUSIONNISTES ET D'AUTRES ARTISTES AUTOUR D'EUX SUIVENT LE MEME CHEMIN MAIS ILS N'ADHERERONT PAS AU SURREALISME. TOYEN ET STYRSKY SERONT LES SEULS PEINTRES DU GROUPE FONDE A PRAGUE EN 1934
JEAN PAULHAN ET SES PEINTRES by Patrizia Mania( Book )

1 edition published in 1999 in French and held by 3 WorldCat member libraries worldwide

THIS STUDY HAS PUTTING EVIDENCE AT THE LESS KNOWED POINT OF VIEW IN THE WORK OF THE WRITER JEAN PAULHAN: THE STUDY IS FOCUSED ON HIS RELATION WITH PAINTING OF THE TIME. THIS WORK WINDS BETWEEN THREE ANALYSING PARAMETERS: THE JEAN PAULHAN ART COLLECTION; THE ILLUSTRATED EDITION BOOKS; THE CRITICAL THINKING OF JEAN PAULHAN ABOUT ART OF THE TIME. WHAT PLACE IS PUTTING PAULHAN AS CRITIC OF ART IT WAS ASKING? THIS WAS THE QUESTION OVER THAT IT HAS BEEN LOOKING FOR AN ANSWER. SIMPLY TO SEEK THE RIGHT PLACE WHERE PAULHAN THOUGHT MUST BE SEEN. AT LEAST IT IS CLEARLY DEMONSTRATED THAT JEAN PAULHAN HAS PLAYED A PREMINENT ROLE INSIDE FRENCH AND EUROPEAN CULTURE BELONGS THE TIME OF 20 YEARS, SUCCEEDING TO OVERCOME THE BOUNDARIES CONSTRUCTED BY CRITICAL SPECIALIZATIONS, FOUNDING THE MEANINGS OF HIS TIME ART AND THE SUBSEQUENTLY NECESSITY OF THAT
Echos ambigus du surréalisme en Hollande (1926 - 1939) by José Vovelle( )

1 edition published in 1978 in French and held by 3 WorldCat member libraries worldwide

Le "bel été" surréaliste d'Amsterdam 1938 : stratégies internationalistes à l'épreuve de la FIARI by José Vovelle( )

2 editions published in 1988 in French and held by 3 WorldCat member libraries worldwide

Le cadavre exquis (1925-1975) by Catherine Vasseur( Book )

1 edition published in 1995 in French and held by 3 WorldCat member libraries worldwide

LES SURREALISTES ONT INVENTES DE NOMBREUX JEUX, PARMI LESQUELS LE CADAVRE EXQUIS FUT SANS DOUTE LE PLUS INTENSEMENT ET LE PLUS DURABLEMENT PRATIQUE. CE TRAVAIL PORTE UNIQUEMENT SUR LES PRODUCTIONS PLASTIQUES (DESSINS, COLLAGES, PEINTURES) ISSUES DE CE JEU. IL COMPREND UN CATALOGUE RAISONNE COUVRANT LA PERIODE DE 1925 - DATE DE CREATION DE CE JEU - A 1975, ET UN TEXTE D'ACCOMPAGNEMENT. LE CADAVRE EXQUIS Y EST ABORDE SOUS L'ANGLE HISTORIQUE DE SA CREATION, DE SA DIFFUSION, DE SES APPLICATIONS DANS LES DIVERSES SPHERES TOUCHEES PAR LE SURREALISME - EN EUROPE ET OUTRE-ATLANTIQUE - DURANT CETTE PERIODE. IL PROPOSE EGALEMENT UNE REFLEXION SUR LES IMPLICATIONS DECOULANT DE LA TRANSPOSITION D'UN JEU D'ORIGINE VERBALE A SA VERSION PLASTIQUE, ET TENTE DE METTRE EN RAPPORT LA CONCEPTION DE L'IMAGE SURREALISTE AVEC DIVERS ASPECTS DE LA REDEFINITION PLUS GLOBALE DE L'IMAGE, TELLE QU'ELLE SE DESSINE AU TOURNANT DE NOTRE SIECLE ET JUSQU'A NOS JOURS, A LA FOIS DANS SA FONCTION ET SES MODES D'ELABORATION, DANS DIVERSES DISCIPLINES QUI ONT POUR DENOMINATEUR COMMUN LA MISE EN VISIBILITE DU REEL. L'IMAGE SE REVELE ALORS AUSSI COMME UN INSTRUMENT DE TRADUCTION D'UNE VISION DU REEL - ET NON COMME LE REEL LUI-MEME
 
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Audience level: 0.85 (from 0.79 for Le surréa ... to 0.98 for Echos ambi ...)

Languages
French (56)