Conference Presentations by Chloé Pluchon-Riera
Journée d'études Le jouet à la période moderne (XV e-XVIII e siècles) : entre culture matérielle ... more Journée d'études Le jouet à la période moderne (XV e-XVIII e siècles) : entre culture matérielle et objet d'art 28 février 2025 Salle Mariette, Institut national d'histoire de l'art, Paris La journée d'études est ouverte au public, dans la limite des places disponibles Dans le vaste champ des arts décoratifs, le jouet a souvent été traité de manière marginale, notamment en raison de son appartenance prioritaire au monde de l'enfance, de sa dimension ludique, ou encore de la relative simplicité de ses matériaux. Au sein des catégories traditionnelles de l'histoire de l'art, le jouet peine à trouver sa place. Il est pourtant au croisement de l'histoire des représentations artistiques et visuelles, des techniques, de l'histoire économique et sociale, des mentalités, du décor enfin ; son étude, dans le sillage de travaux récents pour la période contemporaine, mérite donc une attention renouvelée pour l'époque moderne (XV e-XVIII e siècles). La dimension ludique du jouet relève de l'évidence. Antoine Furetière privilégie d'ailleurs le terme de « jeu » pour « la chose qui sert à jouer », renforçant la confusion et mettant d'emblée l'accent sur le divertissement. Il faut ainsi tenir compte du plaisir lié à la miniaturisation et aux procédés de réduction, mais aussi du rapport plus général au jeu d'imitation et finalement à l'imaginaire. Cependant, à l'époque moderne, le jouet n'est pas seulement un objet que les enfants utilisent pour le jeu, il répond également à leurs besoins physiologiques et psychiques tout en servant à leur éducation. Sa valeur ostentatoire n'est pas négligeable, en témoigne sa représentation dans les portraits d'enfants ou de famille. Le jouet autorise également à envisager une réflexion sur l'occupation des élites, en particulier des femmes, dont on sait qu'elles les collectionnaient, voire les utilisaient. Objet hybride, tant du point de vue de ses matériaux, de ses dimensions, de son décor, le jouet pose des problèmes de définition et regroupe, a priori, des catégories particulièrement variées allant du hochet à la petite statuaire de dévotion, en passant par les crécelles, moulins à vent, billes, figurines, toupies, hochets, miniatures à transformation, cartes à jouer, automates, instruments de musique ou scientifiques, ou encore maisons de poupées. Relevant de la culture matérielle, le jouet est un objet du quotidien, mais son rapport particulier au luxe lui permet de participer à l'économie générale de la décoration intérieure. La question de l'ornement et des qualités formelles du jouet doit donc être prise en considération, de même que son intégration dans la catégorie des objets d'art. Cette journée d'études vise donc à cerner cet objet spécifique, à mettre en perspective le jouet dans ses dimensions artistique, historique, anthropologique, patrimoniale, et à éclairer ses conditions de production, ses usages et ses appropriations à l'époque moderne.
L'animal à l'épreuve de l'histoire de l'art Études et représentations des relations homme/animal ... more L'animal à l'épreuve de l'histoire de l'art Études et représentations des relations homme/animal dans l'art moderne (XIV e-XVIII e siècle).
Make a Fool of Food merchants. Food, Animals and Men Comical Relationships in Italian Genre Scenes of the Cinquecento, 2021
From the second half of the sixteenth century, artists such as Vincenzo Campi and Bartolomeo Pass... more From the second half of the sixteenth century, artists such as Vincenzo Campi and Bartolomeo Passerotti put food at the
center of their paintings. Still alive or in the form of victuals, the animal is displayed in all its diversity on market stalls,
inside bustling kitchens or on the tables of modest families alongside men,women and children whose trade is often
directly linked to the preparation and sale of this food. We wish to focus on the comic effects that such proximity
between man and the "food" he prepares or sells can generate. By associating -physically and morally -salesmen and
cooks with their merchandise, painters insist on their similarities and ridiculethem, thus sending man back to his own
bestiality and reminding the spectators how thin the border between man and animal can be. In these stalls where men
and animals tend to merge, the boccais especiallyan important point of confusion between man and animal, and thus
forms a real comic topos. Thus,the characters eating with their mouths wide open, laughing or even grimacing, by Campi
and Passerotti, are perfect counterexamples to the models set up by pedagogues and humanist thinkers in their treatises
on civility. Where for Erasmus, eating is a highly regulated action, for Campi it is a vulgar joke that amuses, where the
eater behaves in a similar way to his food, to better entertain the spectator. This paper will therefore try to highlight the
similarities between merchants and animals in these genre scenes, focusing on the motif of the bocca, acomic detailof
these works, which are both entertaining and moralizing.
"Animal ou cruel ? : La représentation du jeu entre enfants et animaux dans la peinture italienne... more "Animal ou cruel ? : La représentation du jeu entre enfants et animaux dans la peinture italienne de la Renaissance"
"Rire et violence à travers la figure animale dans la peinture italienne du XVIe siècle à travers... more "Rire et violence à travers la figure animale dans la peinture italienne du XVIe siècle à travers l’exemple d’un tableau d’Annibale Carracci."
Talks by Chloé Pluchon-Riera
Papers by Chloé Pluchon-Riera
Scandalous Feasts and Holy Meals: Food in Medieval and Early Modern Societies
From medieval Western Europe to the early modern Spanish Americas and Asia, scholarship dealing w... more From medieval Western Europe to the early modern Spanish Americas and Asia, scholarship dealing with foodways and foodstuffs has considerably evolved in the last decades. From the questions of local consumption practices, global flows of commodities to evolving tastes, new studies shed light on the intricate significance of food to early modern societies across the globe. Going beyond the essential character of drinks and foodstuffs for the survival of the human body, food consumption is now also being considered as an economic, social, religious and cultural marker. While the enjoyment of a meal can bring communities together, foodways and foodstuffs are also inherent to strategies of exclusion, resistance and protest. If texts provide precious information, material and visual sources have been increasingly used by historians to inform the study of food-related practices in past societies
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Conference Presentations by Chloé Pluchon-Riera
center of their paintings. Still alive or in the form of victuals, the animal is displayed in all its diversity on market stalls,
inside bustling kitchens or on the tables of modest families alongside men,women and children whose trade is often
directly linked to the preparation and sale of this food. We wish to focus on the comic effects that such proximity
between man and the "food" he prepares or sells can generate. By associating -physically and morally -salesmen and
cooks with their merchandise, painters insist on their similarities and ridiculethem, thus sending man back to his own
bestiality and reminding the spectators how thin the border between man and animal can be. In these stalls where men
and animals tend to merge, the boccais especiallyan important point of confusion between man and animal, and thus
forms a real comic topos. Thus,the characters eating with their mouths wide open, laughing or even grimacing, by Campi
and Passerotti, are perfect counterexamples to the models set up by pedagogues and humanist thinkers in their treatises
on civility. Where for Erasmus, eating is a highly regulated action, for Campi it is a vulgar joke that amuses, where the
eater behaves in a similar way to his food, to better entertain the spectator. This paper will therefore try to highlight the
similarities between merchants and animals in these genre scenes, focusing on the motif of the bocca, acomic detailof
these works, which are both entertaining and moralizing.
Talks by Chloé Pluchon-Riera
Papers by Chloé Pluchon-Riera
center of their paintings. Still alive or in the form of victuals, the animal is displayed in all its diversity on market stalls,
inside bustling kitchens or on the tables of modest families alongside men,women and children whose trade is often
directly linked to the preparation and sale of this food. We wish to focus on the comic effects that such proximity
between man and the "food" he prepares or sells can generate. By associating -physically and morally -salesmen and
cooks with their merchandise, painters insist on their similarities and ridiculethem, thus sending man back to his own
bestiality and reminding the spectators how thin the border between man and animal can be. In these stalls where men
and animals tend to merge, the boccais especiallyan important point of confusion between man and animal, and thus
forms a real comic topos. Thus,the characters eating with their mouths wide open, laughing or even grimacing, by Campi
and Passerotti, are perfect counterexamples to the models set up by pedagogues and humanist thinkers in their treatises
on civility. Where for Erasmus, eating is a highly regulated action, for Campi it is a vulgar joke that amuses, where the
eater behaves in a similar way to his food, to better entertain the spectator. This paper will therefore try to highlight the
similarities between merchants and animals in these genre scenes, focusing on the motif of the bocca, acomic detailof
these works, which are both entertaining and moralizing.