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Restoration as Fabrication of Origins
The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding. Restoration practices in Italian Renaissance art Reassessing the concept of Renaissance Recording of ancient works for political purposes
Women and Missions
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Nager avec Laure Prouvost
"Nager avec Laure Prouvost" est un texte critique écrit dans l'impulsion d'un moment de vie quotidienne partagé à Nice - ville où habite Mathilde Roman - avec l'artiste Laure Prouvost. Dans un entremêlement entre nages en mer, discussions, vie familiale et recherches sur son oeuvre, elle a entamé une écriture de l'intime qui interroge la condition de l'artiste femme, la place de la maternité et des sensations dans l'élaboration artistique. Motivée par le constat des difficultés réelles encore trop souvent rencontrées par les femmes pour être mères et faire oeuvre, l'auteure mène une réflexion au plus près de Laure Prouvost mais aussi d'autres artistes femmes sur la place des sensations et les ressources de la vie familliale dans la création. Écrit dans la période de la crise du covid, dans la frustration des expériences d'exposition, ce texte est aussi un basculement vers une écriture critique qui articule le dehors au dedans, et affirme la puissance vitale des désirs de l'art.
Corps public
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The Cross, the Gospels, and the Work of Art in the Carolingian Age
In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.
Stendhal's Less-Loved Heroines
"Stendhal's most independent heroines are usually disliked or marginalized by critics. However, when gender-neutral criteria are applied, Mina de Vanghel, Vanina Vanini, Mathilde de La Mole, and Lamiel can all be shown to enact extraordinary experiments in freedom. These experiments are all the more remarkable in view of the gender of their agents, the historical situation of the author (1783-1842), and the conventions of the literary movement that his fiction helped to found: realism. Simone de Beauvoir's 1949 study of Stendhal's heroines gives preference to the reserved females over his Amazons. But existentialism, as a philosophy of freedom, also enables a reading of the self-determining heroines that acknowledges the superiority of their choices: their resistance and counter-plots, their paradoxical authenticity, their rejection of seriousness, and their assumption of responsibility for the routes they plot."
