WorldCat Identities

Vovelle, José

Overview
Works: 59 works in 92 publications in 1 language and 379 library holdings
Genres: History  Conference proceedings 
Roles: Publishing director, Editor
Classifications: NX555.A1, 709.04
Publication Timeline
Key
Publications about  José Vovelle Publications about José Vovelle
Publications by  José Vovelle Publications by José Vovelle
Most widely held works by José Vovelle
Le surréalisme en Belgique by José Vovelle ( Book )
9 editions published between 1968 and 1972 in French and held by 149 WorldCat member libraries worldwide
Un art sans frontières : l'internationalisation des arts en Europe, 1900-1950 by Gérard Monnier ( Book )
6 editions published in 1994 in French and held by 45 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 )
3 editions published in 1994 in French and held by 38 WorldCat member libraries worldwide
L'objet et l'art contemporain by José Vovelle ( Book )
2 editions published in 1990 in French and held by 19 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
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 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
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
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
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 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
PRESENTE A L'ACADEMIE DES SCIENCES EN 1904 ET COMMERCIALISE TROIS ANS PLUS TARD PAR LA SOCIETE A. LUMIERE ET SES FILS, L'AUTOCHROME EST LE PREMIER PROCEDE INDUSTRIEL DE PHOTOGRAPHIE DES COULEURS MIS A LA PORTEE DU PUBLIC. SON INVENTION HERITE DES PROGRES DE LA TECHNIQUE, DES DECOUVERTES SCIENTIFIQUES EN PHYSIOLOGIE DE LA VISION DES COULEURS ET DES THEORIES ESTHETIQUES DU DERNIER TIERS DU DIX-NEUVIEME SIECLE. L'ETUDE DE LA PHOTOGRAPHIE AUTOCHROME SE SITUE AINSI AU CROISEMENT DE CES TROIS DISCIPLINES. ELLE PERMET DE CIRCONSCRIRE LE MOMENT OU LA PHOTOGRAPHIE CONQUIERT CE QUI LUI FAISAIT ENCORE DEFAUT POUR ATTEINDRE A LA PLENITUDE DE SA FONCTION DE REPRODUCTION DU REEL : LA COULEUR. IMMEDIATEMENT ANNEXEE POUR SA SUPERIORITE D'OBJECTIVITE DANS UN BUT DOCUMENTAIRE, L'AUTOCHROME FASCINE LES AMATEURS PAR LE POUVOIR ILLUSIONNISTE DE LA COULEUR ET EST EGALEMENT UTILISEE PAR LES ARTISTES-PHOTOGRAPHES. L'AUTOCHROMIE ARTISTIQUE CHERCHE SA PLACE ENTRE LE MODELE PICTURAL DE L'IMPRESSIONNISME ET LE MODELE PHOTOGRAPHIQUE DU LE MODELE PICTURAL DE L'IMPRESSIONNISME ET LE MODELE PHOTOGRAPHIQUE DU PICTORIALISME. LE FAIT QUE LES PHOTOGRAPHE PRETENDENT A LA RECONNAISSANCE ARTISTIQUE D'UN PROCEDE MECANIQUE RECONNU POUR SON OBJECTIVITE, DECLENCHE UN VIF DEBAT AU SEIN DU MOUVEMENT PICTORIALISTE QUI PRONE AU CONTRAIRE LA SUBJECTIVITE DE LA PRATIQUE PHOTOGRAPHIQUE PAR L'INTERVENTION SUR LE MEDIUM. ALORS QU'ELLE SE RECLAME D'UNE ESTHETIQUE PICTURALE QUI N'EST PLUS CELLE DE LA MODERNITE, L'AUTOCHROME ALIMENTE LE DEBAT D'OU SORTIRA LA PHOTOGRAPHIE MODERNISTE. POURTANT, LA NOUVELLE GENERATION DE PHOTOGRAPHES NEGLIGERA CE PROCEDE. INNOVATEUR DANS SA CONCEPTION, LE PROCEDE AUTOCHROME RENOUVELLE LA PRATIQUE PHOTOGRAPHIQUE MAIS NE PARVIENT PAS A ENGENDRER UNE ESTHETIQSUE PLEINEMENT NOVATRICE
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
De l'artificialisme au surréalisme 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
Un surréaliste belge à Paris : Magritte (1927 - 1930) by José Vovelle ( )
2 editions published in 1971 in French and held by 4 WorldCat member libraries worldwide
JEAN PAULHAN ET SES PEINTRES by Patrizia Mania ( Book )
1 edition published in 1999 in French and held by 3 WorldCat member libraries worldwide
AU COURS DE CETTE ETUDE NOUS AVONS MIS EN EVIDENCE UN ASPECT PEU CONNU DE L'ECRIVAIN JEAN PAULHAN: SON RAPPORT AVEC LA PEINTURE DE SON TEMPS. L'ETUDE SE DEVELOPPE A TRAVERS TROIS PARAMETRES D'ANALYSE: LA COLLECTION D'ART DE JEAN PAULHAN; LES LIVRES ILLUSTRES, SA PENSEE CRITIQUE SUR L'ART DE SON TEMPS. QUELLE PLACE DONNER A PAULHAN CRITIQUE D'ART, AMI DES PEINTRES? C'EST LA QUESTION A LAQUELLE NOUS AVONS CHERCHE A DONNER UNE REPONSE. LUI ATTRIBUER LA "JUSTE" PLACE. LA PLACE D'UN CRITIQUE HORS NORME QUI A JOUE UN ROLE DE PREMIER PLAN DANS LA CULTURE ARTISTIQUE FRANCAISE ET MEME ETRANGERE PENDANT PRESQUE 20 ANS, PARVENANT A DEPASSER LES CONFINS ETROITS DE LA CRITIQUE DE SECTEUR POUR INTERROGER L'ART DE SON TEMPS SUR SES NECESSITES
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
Jane Graverol by René de Solier ( Book )
2 editions published in 1974 in French and held by 3 WorldCat member libraries worldwide
PER KIRKEBY : UNE HISTOIRE GEOLOGIQUE DE L'ART by Anne-Catherine Abecassis ( Book )
1 edition published in 2000 in French and held by 3 WorldCat member libraries worldwide
PER KIRKEBY ( 1938, COPENHAGUE), SCULPTEUR, GRAVEUR, CINEASTE, ARCHITECTE, GEOLOGUE ET PEINTRE AVANT TOUT, COMPTE PARMI LES ARTISTES CONTEMPORAINS LES PLUS MEDIATISES, LES PLUS EXPOSES ET PUBLIES. CET ARTISTE, DONT L'OEUVRE PICTURALE S'IMPOSE COMME UNE DES PLUS MARQUANTES AU DANEMARK DES LA FIN DES ANNEES SOIXANTE, PRENDRA UNE PART IMPORTANTE AU RENOUVEAU GENERAL DE LA PEINTURE DANS LES ANNEES QUATRE-VINGT. IL RESTE CEPENDANT LOIN D'OCCUPER EN FRANCE LA PLACE QU'IL MERITE ET SON OEUVRE Y DEMEURE ENCORE RELATIVEMENT MAL CONNUE. NOUS AVONS ICI ENTREPRIS DE SORTIR L'OEUVRE DE KIRKEBY DE SA TRADITIONNELLE RECEPTION NORDIQUE, DU ROMANTISME COMME DE L'EXPRESSIONNISME, AUXQUELS ELLE EST GENERALEMENT RATTACHEE AFIN DE MESURER L'IMPORTANCE DE SA CONTRIBUTION DANS LE CADRE D'UNE REFLEXION NEUVE SURL'HISTOIRE ET SUR L'ART. PAR UNE APPROCHE DE SON OEUVRE FORMULEE AUTOUR D'UNE PROBLEMATIQUE APPROPRIATIVE, ET PLUS PARTICULIEREMENT CITATIONNELLE, NOTAMMENT JUSTIFIEE PAR UNE CONCEPTION GEOLOGIQUE DE L'ART, LES TRAVAUX DE L'ARTISTE DANOIS NOUS AMENENT EN EFFET A REPENSER LES FONDEMENTS MEMES DE LA CREATION ARTISTIQUE, A PARTIR DU MOMENT OU ELLE ACQUIERT LE STATUT D'ARTES LIBERALES A LA RENAISSANCE, ET DE LEUR DEVENIR AU SEIN DE LA PERIODE CONTEMPORAINE
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
 
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Audience Level
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Audience level: 0.79 (from 0.00 for Echos ambi ... to 1.00 for Un surréa ...)
Languages
French (51)