Search results for "gravure sur bois"
showing 5 items of 5 documents
Genesis de Paul Nash : exploration de l'imaginaire par la gravure dans le livre illustré moderniste
2011
International audience
Couleur et transparence à l’ère des procédés photomécaniques
2015
This paper aims to show that the reception of British coloured illustrated books in the early twentieth-century reflects the artistic and aesthetic repositioning induced by the development of photomechanical process. Photomechanical reproduction freed the graphic line as well as colour. Reviews published at the turn of the century—as exemplified by The Studio—reveal a tension between opacity and transparency, materiality and lightness, chromophilia and chromophobia. These oppositions apply to the art of the book—as in the books illustrated by Arthur Rackham and Edmund Dulac—as well as to interior decoration. They are subsumed in the image of the peacock’s ocellus, the eyespot that symbolise…
Illustration, wood-engraving and the textual fabric
2012
International audience
Graver, sculpter : un geste moderniste. Descriptions ekphrastiques dans les manuels de gravure sur bois des années 1920 et 1930 en Grande Bretagne
2015
International audience
Ivy and Bones: ruins and reversibility during the Blitz
2012
"Ivy and bones: ruins and reversibility during the Blitz" examines how the representation of the ruins of the Blitz is informed by the aesthetic and semiotic tension between abstraction, modernist purity and picturesque accretion. Subsequently building on the notion of reversibility, it explores the way wartime destruction and/or cultural decline is recorded as well as counteracted and compensated for in works by Elizabeth Bowen, Herbert Furst, Claire Leighton, Rose Macaulay, John Piper, and Virginia Woolf. The trope of reversibility provides a template to consider some of the sites where aesthetic conflicts are re-enacted, from blitzed spaces to the printed page as threatened modernist art…