Videos by Natacha LUBTCHANSKY
Questo è il video di presentazione di ICAR 4D ( http://icar.huma-num.fr/4D/ ): un'esplorazione vi... more Questo è il video di presentazione di ICAR 4D ( http://icar.huma-num.fr/4D/ ): un'esplorazione virtuale delle tombe dipinte etrusche di Tarquinia (Italia) diretta da Natacha Lubtchansky (CeTHiS - Università di Tours).
La modellizzazione di 2 tombe (tomba dell'Orco e tomba delle Bighe) permette di osservare l'articolazione degli affreschi con l'architettura del monumento e di confrontare tutte le riproduzioni grafiche che sono state eseguite dalla scoperta delle tombe nel XIX secolo.
La modellizzazione 4D è il risultato del progetto FACSIMILE
Realizzazione: Alban-Brice Pimpaud / Archeo3D
Con la collaborazione dell'Ecole française de Rome, dell'Università di Tours, del CeTHiS, della Soprintendenza Archeologia, Belle Arti e Paesaggio (Firenze e le province di Pistoia e Prato), del Réseau national des Maisons des Sciences de l'Homme, della Maison des Sciences de l'Homme Val de Loire e del Fondo Arpamed (Archeologia e Patrimonio nella regione del Mediterraneo). 19 views
Website by Natacha LUBTCHANSKY
https://www.dpnm.univ-tours.fr/wiki/index.php
Since 2002, the survey Pratiques de l’image antiqu... more https://www.dpnm.univ-tours.fr/wiki/index.php
Since 2002, the survey Pratiques de l’image antique has been proposed to international scholars in Classics within the framework of a research program of the CeTHiS at the University of Tours and the Jean-Bérard Centre in Naples, under the direction of Natacha Lubtchansky, Ludi Chazalon and Claude Pouzadoux. This work, which is linked to the disciplines of sociology, epistemology and historiography, aims at displaying the place of iconography practices in Classics, their status, methods and history, based on a dialogue with scholars, rather than on their works.
2,400 hours of interviews conducted in Great Britain, Germany, Switzerland, Italy and France are the basic material for the reflection. A first set of conclusions was discussed at an international conference at the University of Tours on March 14, 2011.
The online publication offered here - Wikimage. Fragments of discourse on the ancient images - allows access to the sound recordings of interviews with the scholars. It takes the form of a Wiktionnaire, based on the hundred concepts covered by the survey, in order to offer to the scientific community an online discussion space. The entries, arranged in alphabetical order, provide a summary of the researchers' answers, accompanied by a selection of quotations from the interviews and reproductions of commented works.
This program involves Master students from several universities (Tours, Nantes, Brest) offering training in research through research. The students thus developed the entries of the Wikimage, small virtual exhibitions on figurative works, and portraits of the interviewees.
The purpose of the Facsimile Carnet is to publish the works of the program "Fac-Simile. Graphic d... more The purpose of the Facsimile Carnet is to publish the works of the program "Fac-Simile. Graphic documentation and museums of Etruscan painting", led by the French School in Rome, the research team of the University of Tours, CeTHiS (EA 6298), and the Soprintendenza Archeologia Toscana. The aim will be to present on the same site the varous productions of this program published on different media: scientific meetings and their publication; collaborative database; videos; virtual exhibitions.
http://icar.huma-num.fr/
The database ICAR (ISSN 2491-2301 ) is conceived and directed by Natach... more http://icar.huma-num.fr/
The database ICAR (ISSN 2491-2301 ) is conceived and directed by Natacha Lubtchansky.
Icar assembles objects from pre-Roman Italy (Etruscan, Italic and Italiote from the 8th century BC to the Hellenistic period) with figured scenes.
It brings together an abundant iconographic (descriptions, photographs, drawings and modern engravings) and bibliographic documentation, focusing on the archaeological and artistic context, the history of the collections and the interpretation of the figured scenes.
Three complete corpora are presented :
-pre-Roman painting : Etruscan, Campanian and Apulian frescoes
-archaic reliefs from Chiusi
-hydriae from Cerveteri
as well as complete collections of modern and contemporary graphic documentation :
as watercolors, tracing copies and facsimiles of Augusto Guido Gatti (first quarter of the 20th century) for the Galleria della pittura etrusca in facsimile of the Archaeological Museum of Florence.
Two search modes are offered :
Icar, for pre-Roman figured scenes
IcarDoc, for reproductions illustrating pre-Roman figured scenes
Papers by Natacha LUBTCHANSKY
G. Herbert de la Portbarré-Viard et P. Duarte, avec la collaboration de R. Robert (éd.), Architectures et décors fictifs antiques et médiévaux. Illusion, fiction et réalité, Paris, 2022, p. 395-414, 2022
Beyond the knowledge that the Grand Prix de Rome acquire and fix on the plates of their Envois fo... more Beyond the knowledge that the Grand Prix de Rome acquire and fix on the plates of their Envois for the Institute, there is another relationship to the Italian antiquities that these young architects transmitted to us in the central years of the 19th century. These are imaginary views and fantasies that betray the emotion that the student artists felt in witnessing the archaeological discoveries of their time. In the case of the Etruscan antiquities discovered and studied by French architects in Italy from the second quarter of the 19th century onwards (such as Félix Duban, Léon Vaudoyer, the brothers Henri and Théodore Labrouste, Antoine Delannoy, Albert Lenoir, etc.), several characteristics caught their attention and were able to arouse this emotion: the spectacular aspect of the constructions (city gates and walls), the spirit of adventure linked to the discovery of the remains, the romanticism of the ruins (tombs discovered in the Tuscan and Roman countryside), or the aesthetic aspect of the monuments themselves (Etruscan painting, primitive architecture).These compositions and fantasies also allowed the young architects to echo the reflections and debates that animated the learned world at that time: the question of the polychromy of Greek architecture, of ancient domestic architecture, the consideration of an antiquity that differed from the conquering architecture of the Roman emperors. Before the development of the neo-Greek current, Etruscan antiquities were therefore able to seduce both the spirit and the soul of these young artists.
Alexandra Attia, Daniela Costanzo, Christian Mazet, Valeria Petta (dir.), ‘Infinito sarà il tempo dell’Ade’ L’archéologie funéraire en Italie du Sud (fin VIe ‐ début IIIe s. av. J.‐C.). Actes de la rencontre franco‐italienne, Paris 24‐25 mars 2017, Atti dell’incontro franco‐italiano, Parigi 24‐25..., 2022
Claude Pouzadoux et Airton Polini (éd.), Synopsis. Images antiques, images cinématographiques, Paris, 2022, p. 171-179, 2022
L'article établit un parallèle entre l'arrivée de la Nouvelle Vague au cinéma et les changements ... more L'article établit un parallèle entre l'arrivée de la Nouvelle Vague au cinéma et les changements des arts visuels étrusques à l'époque classique
L’Italie préromaine et la France, a cura di M.–L. Haack, 2016
Archimède. Archeologie et histoire ancienne, 2022
The question of nudity in classical antiquity has been the subject of much discussion. Researcher... more The question of nudity in classical antiquity has been the subject of much discussion. Researchers have pointed out the oppositions of gender, cultures and time periods that explain the adoption or rejec- tion of nudity. We shall use the opposition between Etruscan and Greek representations of nudity: richly dressed Greek korai correspond to naked Etruscan female figures, while many kouroi and athletes, naked in Greek art, wear loincloths and cuirasses in Etruscan sculpture. Focusing on the famous «Venus» of Cannicella, we will observe the ritual processes that explain the nudity of this statue, taking into account its archaeologi- cal context, its iconography and finally its style.
Le siècle de Labrouste. Un élève, un ami, un maître, J.-P. Garric et M. Le Coeur (éd.), 2020
Henri Labrouste, l'Étrusque. De l' Antiquité rêvée à l'archéologie Natacha Lubtchansky Le progrès... more Henri Labrouste, l'Étrusque. De l' Antiquité rêvée à l'archéologie Natacha Lubtchansky Le progrès vers le primitif : le mémoire de Labrouste sur Paestum en perspective, Sigrid de Jong Le monument à La Pérouse : Labrouste et le topos d'un tombeau face à la mer, Jean-Philippe Garric L'oeuvre dans son époque Labrouste et la prison Caroline Soppelsa « Que nos constructions conservent le caractère d'étais ». Labrouste, architecte attaché à la Commission des monuments historiques Corinne Bélier Le monument funéraire comme paradigme du rapport au passé chez Labrouste
Divines ou mortelles? Les femmes de la Tombe du Baron à Tarquinia, 2006
Les fresques de la Tombe du Baron de Tarquinia ont fait l'objet de nombreuses interpretations... more Les fresques de la Tombe du Baron de Tarquinia ont fait l'objet de nombreuses interpretations iconographiques, celles-ci oscillant entre deux poles, mythologique (Dioscures, Dionysos, Semele, Helene...) et profane (le commanditaire est un homme, une femme, entoure(e) de sa famille). Valorisant le point de vue qui voit dans la figure feminine representee le personnage pour lequel le tombeau a ete construit, l'etude envisage plusieurs dossiers permettant d'eclairer quelques facettes de l'histoire de la femme etrusque (consommation du vin, rituels initiatiques). Mais l'etude se presente aussi comme une contribution a l'histoire de l'art funeraire etrusque, afin d'integrer les resultats les plus recents dans ce domaine. mort: n'est-ce pas la defunte qui est evoquee, a droite, ex absentia? Ainsi le programme decoratif de la Tombe du Baron adopte une iconographie essentiellement metaphorique, juxtaposant plusieurs images-symboles independantes, sans qu'elles soient reliees par un fil narratif.
Contacts et acculturations en Méditerranée occidentale, 2015
Dans la lignée des anciens Travaux du Centre Camille Jullian, la Bibliothèque d'Archéologie Médit... more Dans la lignée des anciens Travaux du Centre Camille Jullian, la Bibliothèque d'Archéologie Méditerranéenne et Africaine (BiAMA) regroupe des travaux (monographies, actes de colloques, ouvrages collectifs) en relation avec les programmes scientifiques du Centre Camille Jullian, sur l'histoire et l'archéologie de la Gaule méridionale, de l'Afrique du Nord et du bassin méditerranéen. La BiAMA peut comprendre des sous-séries, comme la collection Études massaliètes (EtMassa).
Mélanges de l'Ecole française de Rome. Antiquité, 1998
... del mare dans alimentazione nel mondo antico II Gli Etruschi Rome 1987 55-58 En dernier lieu ... more ... del mare dans alimentazione nel mondo antico II Gli Etruschi Rome 1987 55-58 En dernier lieu Purcell Eating fish The para doxes of seafood dans Wilkins Harvey Dolson éd. ... L'ensemble de la bibliographie postérieure est donné par EP Markussen, Painted Tombs in Etruria. ...
La presente reflexion porte sur des images etrusques du Vie siecle avant J.-C. C 'est dans le... more La presente reflexion porte sur des images etrusques du Vie siecle avant J.-C. C 'est dans le sens d'une interpretation historique que j'ab o rd e c es documents. Pour com prendre le sens d'une representation, il convient d e la m ettre en relation a v e c les autres representations d e l'ensemble du corpus des peintures, c'est-a-dire d e proposer une interpretation contextuelle du docum ent. L'historien dispose aussi d e textes qui peuvent com pleter l'information co n ten u e dans l'image, ou m em e aider a mieux la com prendre. Le saut d e l'image au texte doit toutefois etre o p e re av ec b e a u c o u p d e precaution, car on peut ainsi facilement sur interpreter la premiere. Dans le cas d es images etrusques, la d e m a rch e est d'autant plus perilleuse que la civilisation etrusque ne nous a legue aucun texte litteraire. L'historien est en effet souvent tente d'utiliser d e s sources litteraires grecques e t latines. C '...
Si les cavaleries grecque et romaine archaiques sont un sujet recurrent de l'historiographie,... more Si les cavaleries grecque et romaine archaiques sont un sujet recurrent de l'historiographie, celles d'etrurie et de grande grece sont restees dans l'ombre. Cette etude s'attache tout d'abord a preciser le contexte historiographique de la question, avant d'exposer la demarche adoptee. C'est par la documentation meridionale que commence l'enquete. Un premier chapitre reunissant les textes sur la cavalerie sybarite, montre comment sybaris developpe l'hippotrophia, et comment elle sait compter, dans la bataille, sur une cavalerie maitrisant des techniques de combat perfectionnees. Les deux chapitres suivants ont pour point de depart la documentation figuree campanienne: vases a figures noires et lebes en bronze. Ils forment un parcours iconographique permettant d'expliquer la formation de l'image du guerrier a cheval, recurrente a partir du ive siecle. La confrontation des images et des textes souligne le lien privilegie entre le cavalier et ...
Porter un regard retrospectif sur la discipline archeologique souleve de nombreuses questions auj... more Porter un regard retrospectif sur la discipline archeologique souleve de nombreuses questions aujourd’hui au cœur de l’actualite, sur l’evolution des methodes scientifiques, sur les contextes historiques de leur production et sur l’histoire des collections europeennes et extra-europeennes. Cet ouvrage reunit une trentaine de specialistes qui temoignent de l’avancee des recherches dans ce domaine, autour de trois thematiques : la naissance de l’archeologie qui, pendant l’epoque des Lumieres et au debut du XIXe siecle, mena les erudits de la philologie et l’histoire ancienne vers l’archeologie de terrain et l’etude des artefacts ; le developpement de cette discipline dans le cadre des dynamiques de transferts culturels a partir du milieu du XIXe s. jusqu’a la Seconde Guerre mondiale ; son institutionnalisation depuis le debut du XIXe s. et ses liens avec les politiques nationales. Les auteurs souhaitent ainsi rendre un digne hommage a Eve Gran-Aymerich, dont les travaux ont contribue ...
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Videos by Natacha LUBTCHANSKY
La modellizzazione di 2 tombe (tomba dell'Orco e tomba delle Bighe) permette di osservare l'articolazione degli affreschi con l'architettura del monumento e di confrontare tutte le riproduzioni grafiche che sono state eseguite dalla scoperta delle tombe nel XIX secolo.
La modellizzazione 4D è il risultato del progetto FACSIMILE
Realizzazione: Alban-Brice Pimpaud / Archeo3D
Con la collaborazione dell'Ecole française de Rome, dell'Università di Tours, del CeTHiS, della Soprintendenza Archeologia, Belle Arti e Paesaggio (Firenze e le province di Pistoia e Prato), del Réseau national des Maisons des Sciences de l'Homme, della Maison des Sciences de l'Homme Val de Loire e del Fondo Arpamed (Archeologia e Patrimonio nella regione del Mediterraneo).
Website by Natacha LUBTCHANSKY
Since 2002, the survey Pratiques de l’image antique has been proposed to international scholars in Classics within the framework of a research program of the CeTHiS at the University of Tours and the Jean-Bérard Centre in Naples, under the direction of Natacha Lubtchansky, Ludi Chazalon and Claude Pouzadoux. This work, which is linked to the disciplines of sociology, epistemology and historiography, aims at displaying the place of iconography practices in Classics, their status, methods and history, based on a dialogue with scholars, rather than on their works.
2,400 hours of interviews conducted in Great Britain, Germany, Switzerland, Italy and France are the basic material for the reflection. A first set of conclusions was discussed at an international conference at the University of Tours on March 14, 2011.
The online publication offered here - Wikimage. Fragments of discourse on the ancient images - allows access to the sound recordings of interviews with the scholars. It takes the form of a Wiktionnaire, based on the hundred concepts covered by the survey, in order to offer to the scientific community an online discussion space. The entries, arranged in alphabetical order, provide a summary of the researchers' answers, accompanied by a selection of quotations from the interviews and reproductions of commented works.
This program involves Master students from several universities (Tours, Nantes, Brest) offering training in research through research. The students thus developed the entries of the Wikimage, small virtual exhibitions on figurative works, and portraits of the interviewees.
The database ICAR (ISSN 2491-2301 ) is conceived and directed by Natacha Lubtchansky.
Icar assembles objects from pre-Roman Italy (Etruscan, Italic and Italiote from the 8th century BC to the Hellenistic period) with figured scenes.
It brings together an abundant iconographic (descriptions, photographs, drawings and modern engravings) and bibliographic documentation, focusing on the archaeological and artistic context, the history of the collections and the interpretation of the figured scenes.
Three complete corpora are presented :
-pre-Roman painting : Etruscan, Campanian and Apulian frescoes
-archaic reliefs from Chiusi
-hydriae from Cerveteri
as well as complete collections of modern and contemporary graphic documentation :
as watercolors, tracing copies and facsimiles of Augusto Guido Gatti (first quarter of the 20th century) for the Galleria della pittura etrusca in facsimile of the Archaeological Museum of Florence.
Two search modes are offered :
Icar, for pre-Roman figured scenes
IcarDoc, for reproductions illustrating pre-Roman figured scenes
Papers by Natacha LUBTCHANSKY
La modellizzazione di 2 tombe (tomba dell'Orco e tomba delle Bighe) permette di osservare l'articolazione degli affreschi con l'architettura del monumento e di confrontare tutte le riproduzioni grafiche che sono state eseguite dalla scoperta delle tombe nel XIX secolo.
La modellizzazione 4D è il risultato del progetto FACSIMILE
Realizzazione: Alban-Brice Pimpaud / Archeo3D
Con la collaborazione dell'Ecole française de Rome, dell'Università di Tours, del CeTHiS, della Soprintendenza Archeologia, Belle Arti e Paesaggio (Firenze e le province di Pistoia e Prato), del Réseau national des Maisons des Sciences de l'Homme, della Maison des Sciences de l'Homme Val de Loire e del Fondo Arpamed (Archeologia e Patrimonio nella regione del Mediterraneo).
Since 2002, the survey Pratiques de l’image antique has been proposed to international scholars in Classics within the framework of a research program of the CeTHiS at the University of Tours and the Jean-Bérard Centre in Naples, under the direction of Natacha Lubtchansky, Ludi Chazalon and Claude Pouzadoux. This work, which is linked to the disciplines of sociology, epistemology and historiography, aims at displaying the place of iconography practices in Classics, their status, methods and history, based on a dialogue with scholars, rather than on their works.
2,400 hours of interviews conducted in Great Britain, Germany, Switzerland, Italy and France are the basic material for the reflection. A first set of conclusions was discussed at an international conference at the University of Tours on March 14, 2011.
The online publication offered here - Wikimage. Fragments of discourse on the ancient images - allows access to the sound recordings of interviews with the scholars. It takes the form of a Wiktionnaire, based on the hundred concepts covered by the survey, in order to offer to the scientific community an online discussion space. The entries, arranged in alphabetical order, provide a summary of the researchers' answers, accompanied by a selection of quotations from the interviews and reproductions of commented works.
This program involves Master students from several universities (Tours, Nantes, Brest) offering training in research through research. The students thus developed the entries of the Wikimage, small virtual exhibitions on figurative works, and portraits of the interviewees.
The database ICAR (ISSN 2491-2301 ) is conceived and directed by Natacha Lubtchansky.
Icar assembles objects from pre-Roman Italy (Etruscan, Italic and Italiote from the 8th century BC to the Hellenistic period) with figured scenes.
It brings together an abundant iconographic (descriptions, photographs, drawings and modern engravings) and bibliographic documentation, focusing on the archaeological and artistic context, the history of the collections and the interpretation of the figured scenes.
Three complete corpora are presented :
-pre-Roman painting : Etruscan, Campanian and Apulian frescoes
-archaic reliefs from Chiusi
-hydriae from Cerveteri
as well as complete collections of modern and contemporary graphic documentation :
as watercolors, tracing copies and facsimiles of Augusto Guido Gatti (first quarter of the 20th century) for the Galleria della pittura etrusca in facsimile of the Archaeological Museum of Florence.
Two search modes are offered :
Icar, for pre-Roman figured scenes
IcarDoc, for reproductions illustrating pre-Roman figured scenes
When looking backward at the discipline of archaeology, one comes across many questions that are relevant to the present time about the development of its scientific methods and the historical context in which it took place, and about the history of collections in Europe and the rest of the world. This volume gathers some thirty contributions of specialists who do cutting-edge research in three areas: the birth of archaeology during the Age of Enlightenment and at the beginning of the nineteenth century, which led scholars from philology and ancient history to field archaeology and the study of artefacts; the development of archaeology through the impact of cultural transfers from the middle of the nineteenth century until World War II; the institutionalization of archaeology since the beginning of the nineteenth century and its relation to national politics. In that way contributors wish to pay a tribute to Ève Gran-Aymerich, whose work played a major role in making the history of archaeology a real subject of scientific study.
Ponendo una particolare attenzione alla storia della riproduzione, il volume illustra il lavoro del disegnatore fiorentino con l'intento non solo di far conoscere una tematica museologica, ma anche di fornire documentazione inedita su monumenti pittorici oggi fortemente deteriorati o addirittura non più esistenti.
Il catalogo di 325 documenti è in relazione con la banca dati ICAR (http://icar.huma-num.fr).
Colloque à l'Université de Tours et l'Institut national d'Histoire de l'Art à Paris, 14-16 octobre 2021
L’objet de ce colloque est de confronter différentes expériences
de représentation de la céramique figurée et de la peinture antique entre le xviiie et le xxe siècle, au moment des grandes découvertes archéologiques et de la naissance de la science archéologique.
Si les images de la sculpture et de l’architecture ont dominé les études de l’Antiquité dès la Renaissance, à partir du xviiie siècle celles des rares peintures murales et des nombreux vases figurés s’imposent peu à peu dans le champ du savoir. Ces images diffèrent radicalement par leur support, le mur plat, immobile, ou bien
la courbure d’un récipient qui circule, mais elles sont chacune considérées comme un témoignage précieux de l’art du dessin
et de la peinture antiques, dont les plus célèbres créations sont irrémédiablement perdues. Les fonds d’archives et de musées
qui abondent en reproductions (dessins, aquarelles, calques, tempera, photographies) tout comme la documentation visuelle des publications anciennes (planches des recueils, atlas, revues)
sont de plus en plus connus, recensés, étudiés, notamment par
les programmes de recherche des partenaires organisant cette rencontre. Ces techniques de représentation ont contribué pleinement à la constitution des peintures murales et des vases figurés comme objets de savoir ; elles ont fondamentalement façonné la nature de l’information scientifique disponible. Le colloque voudrait, à partir des recherches menées, permettre l’analyse de ces images dans une chronologie longue, à la fois pour percevoir comment les choix techniques et stylistiques opérés ont façonné notre façon de voir et de connaître les œuvres elles-mêmes, et pour mettre en lumière les stratégies de rapprochements formels ou au contraire de différenciations typologiques en jeu dans les deux corpus.