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The first descriptions of the anthropomorphic monkeys reached Europe channelled through a combination of legend, anecdote and travel journal. The first actual chimpanzee in flesh and blood only arrived around the seventeenth century, and the similarity between these great apes and human beings immediately unleashed conflicting reactions of attraction and awe, fascination and anxiety. Other primates had already been known in the Western world since antiquity, but creatures so similar to ourselves inevitably set human beings in relation to the rest of the natural world, or rather placed them within the same ongoing process, undermining the attempt at distinction from other animals and the claim to a sovereignty over the planet. We now know that we are not so unique and that we share numerous aspects with our primate cousins. Observing them, respecting them and attempting to understand them is the best way of entering into profound contact with our own nature.

Animal sculpture.

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Between c. 1350 and 1550, English sculptors carved thousands of panels depicting religious scenes from alabaster quarries around Nottingham. Exported throughout Europe, these polychrome reliefs were originally usually assembled to form altarpieces. Their coloured epidermis, an integral part of these works that can be termed three-dimensional paintings, has now often disappeared. A multidisciplinary team (art historian, archaeologist, artist and specialist in ancient polychromy, 3D engineers and optodigital researcher) has analysed and reconstructed the polychromy of several of these English panels preserved in the Bordeaux region. The physico-chemical analyses made it possible to determine the nature of the materials used and to recreate the paints used by the alabastermen. These data were used to produce an alabaster facsimile as well as two 3D models with their digital polychromy. As the polychromy of English alabaster works is highly standardised, these examples can be considered as representative of the appearance that the vast majority of the panels must have showed. The study thus allows us to address broader themes, such as the aesthetic and symbolic qualities of the colours used by the alabastermen, or the way in which these were perceived by the medieval viewer.

Alabaster sculpture, English. --- Polychromy

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The voices in this book offer a multi-perspectival approach to Africa, focusing on the skills and the knowledge underpinning visual cultural expressions ranging from Akan symbolism to embodied performances by dancers and storytellers, even re-designed models of Western cars. Educators, designers, artists, critics, curators, and custodians based both in Africa and in Europe are configuring spaces for public, private, institutional as well as digital conversation - whether through pottery or portraiture, furniture or film, shoes or selfies, buildings or books. Readers are encouraged to question how African visual cultures are both 'in' and 'of'; identifying and confrontational; post- and decolonial; preserved and practised; old and new; borrowed and authentic; composite and complete; rooted and soaring. Disciplines being engaged include visual culture studies, media studies, performance studies, orature, literature, art and design - as well as their histories. The editors Mary Clare Kidenda, Lize Kriel and Ernst Wagner represent three nodes in the Exploring Visual Cultures north-south collaborative network: The Technical University of Kenya, the University of Pretoria in South Africa and Munich Academy of Fine Arts in Germany.

Sculpture. --- Sculpture, Primitive --- Stonework, Decorative --- Art --- Bas-relief --- Statues

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Les arts naissent, se développent, traversent des crises suivies de renouvellement, vieillissent et meurent. Toute une vie, beaucoup plus complexe que ne le laisseraient supposer les schémas tout faits - archaïsme, classicisme, baroque, décadence - se révèle à qui en étudie minutieusement l’évolution. C’est elle que s’efforce de découvrir la méthode présentée dans ce cahier. Cette méthode, qui a permis en particulier de retracer l’histoire des arts khmer et cham, a été utilisée et perfectionnée, sinon découverte, par Philippe Stern et l’équipe qu’il a dirigée au Musée Guimet de Paris. Elle est ici étudiée d’abord en elle-même et illustrée d’exemples empruntés aux arts de l’Inde, et de l’Asie du Sud-Est (travaux de Philippe Stern sur les colonnes d’Ajanṭā et d’Ellora, sur le Bayon d’Angkor, sur l’art cham). Deux articles en montrent ensuite l’application : Claudine Picron établit une chronologie détaillée et sûre des stèles Pāla-Sena et Philippe Stern montre tout ce que peut révéler l’étude d’un motif aussi limité que la colonnette khmère.

Sculpture, Indic --- Sculpture, Southeast Asian --- Historiography. --- Southeast Asian sculpture --- Indic sculpture --- art --- histoire des arts --- biologie --- histoire de l’art

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Quelle place pour l’artisan et l’artiste dans la société grecque ancienne ? Ce livre revient sur un débat ancien et complexe à travers le cas des sculpteurs : leur carrière, de l’apprentissage à la pleine possession de leur art, le processus de création, de la commande à la livraison, et l’image que les sociétés antiques ont véhiculée d’eux. Si l’archéologie et l’anthropologie ont renouvelé les données depuis les années 1970, elles ont focalisé l’attention sur les sources matérielles et les activités de production. Archéologue et historienne d’art formée à la philologie classique, l’auteur s’appuie sur le riche corpus des sources écrites : textes littéraires, souvent contradictoires, et inscriptions – comptes de chantiers, signatures, décrets honorifiques – qui donnent un éclairage différent, celui des réalités économiques et sociales, et nuancent la vision partiale du travail des artisans qu’offrent les philosophes. Le prétendu mépris des Grecs pour les artisans et les artistes n’est qu’un fantasme de moraliste : de fait, les artistes jouissaient d’une considération importante, qui se traduisait dans la valeur marchande de leurs œuvres. Le livre propose ainsi une vision dynamique et moderne de l’artiste antique, loin du « primitivisme » qui a longtemps prévalu. Il revient sur le problème de la « construction » historique de la figure de l’artiste et montre que l’étude de l’image et de l’imaginaire de l’artisan constitue, au même titre que la documentation archéologique, un objet d’histoire.

Sculptors --- Sculptors, Ancient. --- Sculpture, Greek. --- Artists --- Social conditions. --- Persons --- Greek sculpture --- Bronze sculptors --- artisanat --- sculpture --- art --- archéologie --- antiquité --- Grec