Chara Kolokytha | Northumbria University (original) (raw)
Books by Chara Kolokytha
By studying the importance of specialist art periodicals in creating the artistic, economic and c... more By studying the importance of specialist art periodicals in creating the artistic, economic and cultural-historical value of modern art and visual culture, this volume is dedicated to the history and legacy of specialist art reviews, bulletins, and magazines across Europe—and their echoes elsewhere—in the early to mid-twentieth century. It assembles historical case studies on European modern art periodicals (British, French, German, Belgian, Finnish, Danish), presenting new research on the multiple meanings that such specialist publications assume within the history of modern art. Paying special attention to the interdependence of the art market and the art press, and reflecting upon the fresh insights that new forms of reading bring, each chapter adds to our historical understanding of the modern art review.
by Marie Gispert, Catherine Méneux, Philipp Leu, Viviana Birolli, Tatsuya Saito, Chara Kolokytha, Poppy Sfakianaki, Guy Lambert, Julien Faure-Conorton, Gwenn Riou, and Cavenago Margherita
The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house a... more The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred arounnd Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post-WWII liberal critique.
Articles and Chapters (Peer-reviewed) by Chara Kolokytha
arthistoricum.net, 2022
Kolokytha, Chara: Museum Acquisition Policies in Germany and France, in: Drost, Julia, Ivanoff, H... more Kolokytha, Chara: Museum Acquisition Policies in Germany and France, in: Drost, Julia, Ivanoff, Hélène und Vernerey-Laplace, Denise (Hrsg.): Arts et politiques: Le marché de l'art entre France et Allemagne de l'Entre-deux-guerres à la Libération, Heidelberg: arthistoricum.net, 2022 (Passages online, Band 13), S. 52-73.
"Picasso vs. Fougeron". In Realisms of the Avant-Garde, (Berlin, Boston: De Gruyter, 2020) doi: h... more "Picasso vs. Fougeron". In Realisms of the Avant-Garde, (Berlin, Boston: De Gruyter, 2020) doi: https://doi.org/10.1515/9783110637533-024
Visual Resources, An International Journal of Documentation 3, vol.29, pp. 184-215.
This paper discusses several aspects of the “art des masses” concept that flourished in Paris dur... more This paper discusses several aspects of the “art des masses” concept that flourished in Paris during the Popular Front years (1936–1938) and the contribution of three of the most important Parisian art magazines to the establishment of a visual imagery: Cahiers d'art, Minotaure, and Verve. These magazines addressed in each case the ideological and formalist concerns of their editors in respect to the contemporary discussions on the place of the artist in society, the leftist anti-capitalist discourse against social inequality, and the Popular Front cultural policy as reflected in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne. Discussing the period of the 1930s, it is pertinent to consider the conditions of artistic production during the Great Depression along with the sociopolitical turmoil that the rise to power of Adolf Hitler (1889–1945) and Joseph Stalin's (1878–1953) dominion in the Union of Soviet Socialist Republics reinforced. Focusing on Verve magazine, this article seeks to identify the factors that led this publication to put into practice, as early as 1937, the idea of a “museum without walls” that André Malraux (1901–1976) would explore on a theoretical level during the following decades and the editorial lines that this luxurious art magazine adopted in reference to the developments in the artistic and intellectual spectrum only a few years before the outbreak of World War II.
The paper reviews the exhibition Matisse, The Essence of Line - Selected Prints (1900-1950) held ... more The paper reviews the exhibition Matisse, The Essence of Line - Selected Prints (1900-1950) held at the Marlborough Galleries.
Denise Vernerey and Hélène Ivanoff (eds) Les Artistes et leurs Galeries : Paris-Berlin, 1900-1950, vol. ΙΙ: Berlin, Mont-Saint-Aignan : PURH, 2020, 2020
Cette étude vise à l’examen de l’édition artistique en France pendant la Seconde Guerre Mondiale ... more Cette étude vise à l’examen de l’édition artistique en France pendant la Seconde Guerre Mondiale à travers l’exemple de la Maison d’Editions Verve. Spécifiquement, l’article présente les conditions sous lesquelles un nombre considérable d’enluminures médiévales françaises ont été reproduites dans les pages de la revue Verve entre les années 1939 et 1944, afin de questionner le rôle qu’a joué l’art médiéval pendant l’occupation en termes idéologiques, symboliques et formalistes. A la suite de deux expositions de la Bibliothèque Nationale, Les plus beaux manuscrits français du VIIIe au XVIe siècle de 1937 et Arts de l’Iran de 1938, la maison Verve en collaboration avec l’Imprimerie Draeger Frères ont achevé de mener à bien la reproduction fidele, pour la première fois dans l’histoire de l’édition en France, des chefs-d’œuvre des manuscrits médiévaux préparant le terrain pour la publication d’une série de luxueux livres d’artistes modernes illustrés par les plus célèbres artistes du vingtième siècle.
Christian Zervos au miroir de la Grèce / sous la direction de Polina Kosmadaki Athènes : École française d’Athènes, 2023
Chara Kolokytha, Zervos avant Zervos : esquisse d’une vie intellectuelle avant Cahiers d’art (190... more Chara Kolokytha, Zervos avant Zervos : esquisse d’une vie intellectuelle avant Cahiers d’art (1908-1925), p. 13-26.
L’activité de Christian Zervos avant la publication des Cahiers d’art demeure peu connue et peu explorée. Cet article se propose de discuter en détail de cette activité, offrant ainsi une première présentation des idées fondamentales qui sous-tendent son univers formaliste et influent sur ses choix futurs. Pour aborder la théorie esthétique de Zervos, il est essentiel de mettre en lumière l’importance de ses textes de jeunesse. Cet article explore sa carrière professionnelle et sa formation intellectuelle depuis ses débuts en tant qu’éditeur et critique littéraire à Alexandrie en 1907, étudiant à Paris avec une thèse sur le philosophe néo-platonicien Michel Psellos, et revient sur sa collaboration avec Albert Morancé et son implication dans des revues telles que L’Art d’Aujourd’hui, Les Arts de la Maison, Byblis et L’Œuvre. Il analyse enfin la transition de Zervos de la sphère littéraire aux arts plastiques à travers l’architecture et la décoration.
Christian Zervos’ activities prior to the publication of Cahiers d’art remain little-known and little- explored. This article proposes to discuss in detail his activities in that period, offering for the first time a presentation of the fundamental ideas that underlie his formalist universe and influence his future choices. To address Zervos’ aesthetic theory, it is essential to shed light on the importance of his early texts. This article explores his professional career and intellectual training, from his beginnings as an editor and literary critic in Alexandria in 1907 and as a student in Paris working on a thesis on the Neo-Platonist philosopher Michel Psellos, to his collaboration with Albert Morancé and his involvement with magazines such as L’Art d’Aujourd’hui, Les Arts de la Maison, Byblis and L’Œuvre. Finally, he analyzes Zervos’ transition from literature to plastic arts through architecture and decoration.
Critique(s) d’art : nouveaux corpus, nouvelles méthodes, Paris, site de l’HiCSA, mis en ligne en avril 2019, 2019
ARTS
The paper comments on the event Destroy...Alexandros Iolas held on the occasion of the re-edition... more The paper comments on the event Destroy...Alexandros Iolas held on the occasion of the re-edition of Iolas' biography, twenty five years after the collector's death.
By studying the importance of specialist art periodicals in creating the artistic, economic and c... more By studying the importance of specialist art periodicals in creating the artistic, economic and cultural-historical value of modern art and visual culture, this volume is dedicated to the history and legacy of specialist art reviews, bulletins, and magazines across Europe—and their echoes elsewhere—in the early to mid-twentieth century. It assembles historical case studies on European modern art periodicals (British, French, German, Belgian, Finnish, Danish), presenting new research on the multiple meanings that such specialist publications assume within the history of modern art. Paying special attention to the interdependence of the art market and the art press, and reflecting upon the fresh insights that new forms of reading bring, each chapter adds to our historical understanding of the modern art review.
by Marie Gispert, Catherine Méneux, Philipp Leu, Viviana Birolli, Tatsuya Saito, Chara Kolokytha, Poppy Sfakianaki, Guy Lambert, Julien Faure-Conorton, Gwenn Riou, and Cavenago Margherita
The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house a... more The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred arounnd Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post-WWII liberal critique.
arthistoricum.net, 2022
Kolokytha, Chara: Museum Acquisition Policies in Germany and France, in: Drost, Julia, Ivanoff, H... more Kolokytha, Chara: Museum Acquisition Policies in Germany and France, in: Drost, Julia, Ivanoff, Hélène und Vernerey-Laplace, Denise (Hrsg.): Arts et politiques: Le marché de l'art entre France et Allemagne de l'Entre-deux-guerres à la Libération, Heidelberg: arthistoricum.net, 2022 (Passages online, Band 13), S. 52-73.
"Picasso vs. Fougeron". In Realisms of the Avant-Garde, (Berlin, Boston: De Gruyter, 2020) doi: h... more "Picasso vs. Fougeron". In Realisms of the Avant-Garde, (Berlin, Boston: De Gruyter, 2020) doi: https://doi.org/10.1515/9783110637533-024
Visual Resources, An International Journal of Documentation 3, vol.29, pp. 184-215.
This paper discusses several aspects of the “art des masses” concept that flourished in Paris dur... more This paper discusses several aspects of the “art des masses” concept that flourished in Paris during the Popular Front years (1936–1938) and the contribution of three of the most important Parisian art magazines to the establishment of a visual imagery: Cahiers d'art, Minotaure, and Verve. These magazines addressed in each case the ideological and formalist concerns of their editors in respect to the contemporary discussions on the place of the artist in society, the leftist anti-capitalist discourse against social inequality, and the Popular Front cultural policy as reflected in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne. Discussing the period of the 1930s, it is pertinent to consider the conditions of artistic production during the Great Depression along with the sociopolitical turmoil that the rise to power of Adolf Hitler (1889–1945) and Joseph Stalin's (1878–1953) dominion in the Union of Soviet Socialist Republics reinforced. Focusing on Verve magazine, this article seeks to identify the factors that led this publication to put into practice, as early as 1937, the idea of a “museum without walls” that André Malraux (1901–1976) would explore on a theoretical level during the following decades and the editorial lines that this luxurious art magazine adopted in reference to the developments in the artistic and intellectual spectrum only a few years before the outbreak of World War II.
The paper reviews the exhibition Matisse, The Essence of Line - Selected Prints (1900-1950) held ... more The paper reviews the exhibition Matisse, The Essence of Line - Selected Prints (1900-1950) held at the Marlborough Galleries.
Denise Vernerey and Hélène Ivanoff (eds) Les Artistes et leurs Galeries : Paris-Berlin, 1900-1950, vol. ΙΙ: Berlin, Mont-Saint-Aignan : PURH, 2020, 2020
Cette étude vise à l’examen de l’édition artistique en France pendant la Seconde Guerre Mondiale ... more Cette étude vise à l’examen de l’édition artistique en France pendant la Seconde Guerre Mondiale à travers l’exemple de la Maison d’Editions Verve. Spécifiquement, l’article présente les conditions sous lesquelles un nombre considérable d’enluminures médiévales françaises ont été reproduites dans les pages de la revue Verve entre les années 1939 et 1944, afin de questionner le rôle qu’a joué l’art médiéval pendant l’occupation en termes idéologiques, symboliques et formalistes. A la suite de deux expositions de la Bibliothèque Nationale, Les plus beaux manuscrits français du VIIIe au XVIe siècle de 1937 et Arts de l’Iran de 1938, la maison Verve en collaboration avec l’Imprimerie Draeger Frères ont achevé de mener à bien la reproduction fidele, pour la première fois dans l’histoire de l’édition en France, des chefs-d’œuvre des manuscrits médiévaux préparant le terrain pour la publication d’une série de luxueux livres d’artistes modernes illustrés par les plus célèbres artistes du vingtième siècle.
Christian Zervos au miroir de la Grèce / sous la direction de Polina Kosmadaki Athènes : École française d’Athènes, 2023
Chara Kolokytha, Zervos avant Zervos : esquisse d’une vie intellectuelle avant Cahiers d’art (190... more Chara Kolokytha, Zervos avant Zervos : esquisse d’une vie intellectuelle avant Cahiers d’art (1908-1925), p. 13-26.
L’activité de Christian Zervos avant la publication des Cahiers d’art demeure peu connue et peu explorée. Cet article se propose de discuter en détail de cette activité, offrant ainsi une première présentation des idées fondamentales qui sous-tendent son univers formaliste et influent sur ses choix futurs. Pour aborder la théorie esthétique de Zervos, il est essentiel de mettre en lumière l’importance de ses textes de jeunesse. Cet article explore sa carrière professionnelle et sa formation intellectuelle depuis ses débuts en tant qu’éditeur et critique littéraire à Alexandrie en 1907, étudiant à Paris avec une thèse sur le philosophe néo-platonicien Michel Psellos, et revient sur sa collaboration avec Albert Morancé et son implication dans des revues telles que L’Art d’Aujourd’hui, Les Arts de la Maison, Byblis et L’Œuvre. Il analyse enfin la transition de Zervos de la sphère littéraire aux arts plastiques à travers l’architecture et la décoration.
Christian Zervos’ activities prior to the publication of Cahiers d’art remain little-known and little- explored. This article proposes to discuss in detail his activities in that period, offering for the first time a presentation of the fundamental ideas that underlie his formalist universe and influence his future choices. To address Zervos’ aesthetic theory, it is essential to shed light on the importance of his early texts. This article explores his professional career and intellectual training, from his beginnings as an editor and literary critic in Alexandria in 1907 and as a student in Paris working on a thesis on the Neo-Platonist philosopher Michel Psellos, to his collaboration with Albert Morancé and his involvement with magazines such as L’Art d’Aujourd’hui, Les Arts de la Maison, Byblis and L’Œuvre. Finally, he analyzes Zervos’ transition from literature to plastic arts through architecture and decoration.
Critique(s) d’art : nouveaux corpus, nouvelles méthodes, Paris, site de l’HiCSA, mis en ligne en avril 2019, 2019
ARTS
The paper comments on the event Destroy...Alexandros Iolas held on the occasion of the re-edition... more The paper comments on the event Destroy...Alexandros Iolas held on the occasion of the re-edition of Iolas' biography, twenty five years after the collector's death.
Visual Resources an international journal on images and their uses , 2017
Conference proceedings, La Demarche Critique, CESL, Tours, September 2013. Au début des année... more Conference proceedings, La Demarche Critique, CESL, Tours, September 2013.
Au début des années vingt, L’Art Vivant d’André Salmon a exercé une influence considérable sur la jeune critique d’art en France. Avec l’expansion de la presse artistique, être critique est devenu une profession, voire une profession digne d’estime. Cette communication vise a l’examen du discours critique de Tériade et de Christian Zervos, le directeur de la revue Cahiers d’Art, en commentant leurs principales prises de positions, leur rôle dans le domaine artistique, et leur contribution au développement du discours critique professionnel à Paris pendant l’entre deux guerres.
Η παρούσα ανακοίνωση επιχειρεί να εξετάσει τις κοινωνικό-ιστορικές και καλλιτεχνικές εξελίξεις πο... more Η παρούσα ανακοίνωση επιχειρεί να εξετάσει τις κοινωνικό-ιστορικές και καλλιτεχνικές εξελίξεις που πλαισιώνουν την δραστηριότητα του Τεριάντ στο Παρίσι του 20ου αιώνα μέσα από την ανάλυση του ρόλου και της σημασίας της ίδρυσης του εκδοτικού οίκου Verve και την έκδοση της ομώνυμης επιθεώρησης από τον Δεκέμβριο του 1937 έως τον Ιούλιο του 1960. Ένας από τους βασικούς στόχους της ανακοίνωσης είναι ο σχολιασμός και η αποτίμηση της αλληλεπίδρασης που σημειώνεται μεταξύ των ιδεολογικών και αισθητικών κατευθύνσεων και επιλογών του Τεριάντ κατά το πέρας τριών σχεδόν δεκαετιών συνεχούς δράσης στο πεδίο των τεχνών. Τέλος, δίνεται έμφαση για πρώτη φορά, με βάση την υπάρχουσα βιβλιογραφία, στον ιδεολογικό προσανατολισμό του Τεριάντ και την αντίληψη του περί προέλευσης της γαλλικής τέχνης όπως διαφαίνονται μέσα από μια πολύχρονη και πλούσια εκδοτική παραγωγή που αγγίζει ταυτόχρονα τα όρια του ακραίου αισθητισμού και του μετριοπαθή εθνικισμού.
Ce papier vise à l’examen des développements socio-historiques et artistiques qui encadrent l’activité de Tériade à Paris au vingtième siècle à travers l’analyse du rôle et de l’importance de la fondation de la maison d’éditions Verve qui publiait l’homonyme revue artistique et littéraire à partir de décembre 1937 jusqu’à juillet 1960. Le but principal de cette conférence c’est de commenter et d’évaluer l’interaction entre les directions esthétiques et idéologiques de Tériade au cours de presque trois décennies d’activité dans le domaine des arts. En tenant compte de la bibliographie existante, enfin, on présente ici pour la première fois l’orientation idéologique de Tériade et ses idées autour des origines de l’art français comme en témoigne sa riche production éditoriale qui a fini par devenir l’emblème d’un esthétisme extrême et, en même temps, d’un nationalisme modéré.
Book Review L’âge critique des Salons: 1914-1925. L’école française, la tradition et l’art modern... more Book Review L’âge critique des Salons: 1914-1925. L’école française, la tradition et l’art moderne by Claire Maingon, Presses Universitaires de Rouen et du Havre, 2014. 350 pp. ill. ISBN : 979-10-240-0105-0. 34 €
Kolokytha, Chara. Maho Jonathan (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sarah ... more Kolokytha, Chara. Maho Jonathan (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sarah (Managing Editor), ,Maho Jonathan (Managing Editor), , "Galerie M.A.I.." Bloomsbury Art Markets. . London: Bloomsbury, 2022. Bloomsbury Visual Arts. Web. 26 Mar. 2023. <http://dx.doi.org/10.5040/9781350924406.34298>.
Kolokytha, Chara. Maho Jonathan (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sarah ... more Kolokytha, Chara. Maho Jonathan (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sarah (Managing Editor), ,Maho Jonathan (Managing Editor), , "Galerie Cahiers d’art." Bloomsbury Art Markets. . London: Bloomsbury, 2022. Bloomsbury Visual Arts. Web. 26 Mar. 2023. <http://dx.doi.org/10.5040/9781350924406.31723>.
Kolokytha, Chara. Schuppert Mirjami (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sa... more Kolokytha, Chara. Schuppert Mirjami (Section Editor), ,Evans Emily (Managing Editor), ,Goodrum Sarah (Managing Editor), ,Maho Jonathan (Managing Editor), , "Jackson-Iolas Gallery." Bloomsbury Art Markets. . London: Bloomsbury, 2022. Bloomsbury Visual Arts. Web. 26 Mar. 2023.
![Research paper thumbnail of "Cubism [REVISED AND EXPANDED]." The Routledge Encyclopedia of Modernism. : Taylor and Francis, 2016. Date Accessed 25 Apr. 2019.](https://attachments.academia-assets.com/59029560/thumbnails/1.jpg)
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(Entries on ‘Leopold Plotek’, ‘Narcisse Poirier’, ‘Christopher Pratt’, Diane Obomsawin’, Peter Wi... more (Entries on ‘Leopold Plotek’, ‘Narcisse Poirier’, ‘Christopher Pratt’, Diane Obomsawin’, Peter Winslow Milton’, ‘Marilyn Minter’, ‘Helen Mirra’, ‘William Laparra’, ‘Marie Adrien Lavieille’, ‘Constant LeBreton’, ‘Pierre LeFaguays’, ‘Jules Lefranc’, ‘Edouard-Auguste Noel’, ‘Donald Frederick Price Neddeau’, ‘John Cullen Nugent’, ‘Rita McKeough’, ‘Maurice Levis’, ‘Emile Levy’, ‘Michael Mazur’, ‘Robert Theodore McCall’, ‘Robert Pearson McChesney’, ‘Justin McCarthy’, ‘Rita McKeough’, ‘Tanya Mars’, ‘Louis Moullin’, ‘Octave Morillot’, ‘Erich Konstantin Pehap’, ‘Jean-Paul Pepin’, ‘Wes Mills’, ‘Paul Rand’, ‘William Raphael’, ‘William Reid’, ‘George Agnew Reid’, ‘Maurice Raymond’, ‘Harry Roseland’, ‘Guy Rose’, ‘Benjamin Rowland’, ‘Charles Ringness’, ‘Walter Ruhman’, ‘Jim Robb’, ‘Donald Robertson’, ‘Joe Rosenthal’).
http://elocus.lib.uoc.gr/dlib/0/8/c/metadata-dlib-1331548351-236526-23092.tkl, 2011
La Maison d’Editions Verve a été fondée par le critique d’art et éditeur grec, Tériade (1897-1983... more La Maison d’Editions Verve a été fondée par le critique d’art et éditeur grec, Tériade (1897-1983), avec le financement de David Smart, directeur de la corporation américaine Esquire-Coronet Inc (1937-1939). Verve a acquis une solide réputation internationale, au cours des trente-six ans d’activité, tout en poursuivant des résultats de haute qualité pour la reproduction en couleurs des œuvres d’art à travers la publication de la revue artistique et littéraire Verve (1937-1960) et la série de vingt-sept livres de peintres (1943-1975) illustrés par l’élite des artistes contemporains. La thèse présente l’activité d’éditeur et de critique d’art de Tériade (Cahiers d’Art, l’Intransigeant, Minotaure, La Bête Noire) à partir du moment de son arrivée à Paris en 1916 jusqu’en 1973, quand l’exposition Hommage à Tériade a eu lieu aux Galeries Nationales du Grand Palais à Paris, en mettant en lumière des aspects inconnus de la vie et l’œuvre de cet éditeur à travers la contextualisation de plus de 200 documents inédits et l’analyse d’un demi siècle de vie artistique en France ; de la fin du cubisme au triomphe de l’école de New York. Le deuxième volume de la thèse présente un répertoire complet de plus de 300 textes critiques de Tériade, une liste de ses publications, un index complet des textes et des illustrations de la revue Verve, photographies, images d’archives et 55 notices biographiques.
In the course of the twentieth century, modern art was pioneered by two succeeding artistic centr... more In the course of the twentieth century, modern art was pioneered by two succeeding artistic centres, Paris and New York, which held the reins of artistic production and innovation. What both centres shared in common was the contrasting pair past-present and present-future which remained crucial in the contemporary artistic discourse raising issues of tradition, evolution and continuity. Despite the recognition of the same era as the generator of modernist aesthetics it becomes evident in the contemporary literature of art that the issues that these generations of painters, critics and historians had to face originated in a time long past with most discussions dealing with the colour-line debates (established since Vasari’s times), the 'anciens et modernes' opposition, classicism, tradition, evolution and artistic education. This project aims to examine the twentieth century Parisian artistic networks during a period of new classifications in modern art and history which prescribed the outcome of the post-1960s modernist era planting the seeds for technical development and mass culture production. Focusing on the period laying from the early 1920s to the late 1950s this paper seeks to discuss the efforts that took place in the Parisian art world to establish a visual culture and the way these efforts were affected by the contemporary socio-political crisis. The field of art publishing is at the centre of attention since it contributed extensively to the establishment of a new order in the artistic domain while it reflected the influence that the concurrent political turmoil exerted over the art historical and critical discourse produced during the period in question. In all respects art criticism and art publishing in France of the twentieth century developed under the formalist directions in art history established since the previous century. Consequently, in the light of the 1930s, a period of strong politicisation and fluidity, it is important to understand to what extent the contemporary crisis affected formalist thinking.
Firenze 30 settembre 2021 Lucca 1 e 2 ottobre 2021 Museo e Istituto Fiorentino di Preistoria Fondazione Ragghianti , 2021
The paper discusses the francophone review of art and literature Sélection published in Brussels ... more The paper discusses the francophone review of art and literature Sélection published in Brussels (1920-1922) and Antwerp (1923-1933), Belgium, by André de Ridder and Paul-Gustave van Hecke. It takes as a point of departure the concept Le Génie du Nord (Genius of the North), which was the title of a 1925 book published in Antwerp by De Ridder. The book mainly consisted of essays previously published in Sélection between 1923 and 1924. De Ridder argues that France should not claim autonomy in the field of cultural production throughout the centuries since Nordic influence has always played a central role to its evolution. Although the book drew little attention from the contemporary press, it offers a novel approach to the Nordic idea through the anticipation of a new classic order that distinguished itself from Southern classicism. While German expressionism was equally renounced, the book proposed a synthetic style - similar to the one that marked the gothic period - that also found expression in the art presented in Sélection, which furnished a visual model for the invention of a new classic order stemming from the successful mingling of French rationalism with Flemish expressionism, or in different terms a ‘constructive expressionism’ that came to be regarded as a condition for a universal Nordic culture. The magazine was supportive of those French and Belgian artists who achieved a combination of the two, an eclectic dualism in Edmond Picard’s words. To illustrate the thesis of Le Génie du Nord, the book presents examples derived from art and literature, shifting in time between the present and the Middle-Ages. Taking the origins of Gothicism and the Nordische Gesellschaft as case points, the Génie du Nord concept forms an alternative discourse which intervenes in an ongoing art historical and cultural debate centred here on the identity of Sélection.
The paper discusses the activity of Christian Zervos as a gallery owner and his interactions with... more The paper discusses the activity of Christian Zervos as a gallery owner and his interactions with several German art dealers such as Alfred Flechtheim, Curt Valentin and Otto Ralfs. It comments on the similarities between the role of the editor and the galerist that he undertakes from 1934 onwards. Zervos, in collaboration with his wife, Yvonne Marion and her gallery MAI, organised several exhibitions until 1970. The paper focuses on their interest in architecture attempting to observe a certain shift in their aesthetic choices from the 1930s to the post-war years. An important part of Zervos' correspondence with Flechtheim is presented and a rich amount of archival material relating to the function of the gallery Cahiers d'Art.
The paper discusses the cosmopolitan character of Paris, the greatest artistic metropolis of the ... more The paper discusses the cosmopolitan character of Paris, the greatest artistic metropolis of the modern era, examining the influence it exerted over the Greek and several other European societies during the first half of the 20th century. Focusing on the example of Tériade, an influential art critic and editor of Greek origin, it is pertinent to consider his role in the phenomenon of cultural mobility and artistic diffusion throughout his career as a critic and editor. Tériade was born to a bourgeois family on the Greek island of Lesbos at the end of the nineteenth century. In his youth, he was raised under the influence of French culture, he wrote poetry and practiced painting in an amateurish impressionist style, deeply influenced by the modern trends that Paris, the ‘centre’ of western civilisation, diffused to the European ‘peripheries’ mostly by means of periodical publications such as the Écho des deux mondes, Vers et Prose and La revue des deux mondes to name but a few French periodicals and papers of wide circulation. In 1916, he moved to Paris to study Law and over a decade later he launched with his compatriot, Christian Zervos, the influential art magazine Cahiers d’Art (1926-1960). Together with Zervos, they established a Paris based international art network propagating the aesthetics of French modern art abroad and thereby encouraging an important number of Spanish, German, Argentine, Russian and Greek artists to move to Paris and benefit from the ideas of Parisian modernism. This suggestion is supported by archival information. What is important about Tériade and Zervos is that they form a significant example in the phenomenon of ‘transculturation’, since they assimilated several aspects of Greek philosophy and culture to the Parisian modernist tenet in order to generate novel ideas that contributed to the establishment of modern classic aesthetics. This is evident in their art critical writings. The paper will examine the way the work of foreign artists is presented in Cahiers d’Art during the inter war period and the contribution of Tériade and Zervos to the establishment of transnational aesthetics in modern artistic production. It aims to bring into light the role of art publishing and the contribution of the Parisian art networks to the diffusion of ideas and their escalating influence in Europe and overseas. The example of Tériade will be used here to highlight both the ‘passive’ and the ‘active’ role of this editor in the phenomenon of cultural diffusion and mobility.
Les années trente constituent une période très complexe en ce qui concerne les effets sociopoliti... more Les années trente constituent une période très complexe en ce qui concerne les effets sociopolitiques dans le domaine artistique français et international. Le Krach de Wall Street en 1929 et la crise économique mondiale ont créé un climat d’instabilité propice à l’émergence du fascisme et la genèse des régimes totalitaires. La scène politique a été également marquée par les conflits idéologiques de la gauche entre Staline et Trotski, l’accession et la chute du Front Populaire, inaugurant une période pendant laquelle l’art fut considéré comme action politique. A travers l’examen de ces trois revues, je vise à mettre en lumière les débats idéologiques qui ont émergé dans le discours de gauche en France, entre les deux guerres, en présentant l’idéologie de ‘l’art des masses’ du Front Populaire et le concept ‘l’art pour les masses’ qui fut le slogan de la propagande communiste........
Lecture given on the occasion of the exhibition Tériade and the Grands Livres held at the Byzanti... more Lecture given on the occasion of the exhibition Tériade and the Grands Livres held at the Byzantine and Christian Museum in Athens. It overviews the activity of Tériade as an art critic and editor from the late 1920s to the mid 1970s.
The paper takes as its subject the theoretical reconsideration of the surrealist technique of aut... more The paper takes as its subject the theoretical reconsideration of the surrealist technique of automatism as put forth in the first issues of Minotaure magazine in 1933 and the influence it exerted over formalist thinking, notably in the pages of Cahiers d'Art. It discusses the articles : Salvador Dali, ‘Interprétation paranoïaque – critique de l’image obsédante ‘L’Angélus’ de Millet. Prologue : Nouvelles considérations générales sur le mécanisme du phénomène paranoïaque du point de vue surréaliste,’ Minotaure 1, 1933, 65-67. Jacques Lacan, ‘Le problème du style et les formes paranoïaques de l’expérience,’ Minotaure 1, 1933, 68-69. André Breton, ‘Le message automatique’, Minotaure 3-4, 1933, 57. Christian Zervos ‘Automatisme et espace illusoire’, Cahiers d’art 3-5, 1936, 69-75
https://www.hartismag.gr/hartis-14/eikastika/o-elyths-synomilei-me-ton-misel-antonioz-1988
[Workshop, 25 November 2020] Deadline: 18 September 2020
Bloomsbury Art Markets, 2022
Bloomsbury Art Markets, 2022
<jats:p>Henri Matisse is a key figure in French modernism and is considered to be the most ... more <jats:p>Henri Matisse is a key figure in French modernism and is considered to be the most influential colourist of 20th-century art. A French painter, sculptor, and printmaker, Matisse studied painting in Paris at the École des Beaux Arts under Gustave Moreau, the École des Arts Décoratifs, and the Académie Julian under W.A. Bouguereau. Matisse's early paintings demonstrate a dark, somber, and dull palette and a naturalist approach to his selected themes (La liseuse, 1894). This progressively gave way to more vivid pure colors (Still Life with Oranges, 1899; Académie bleue, 1899–1900) and impressionist execution (Study of a Nude, 1899). In 1903, Matisse began to use intense pure colors, marking a break with both naturalist and impressionist traditions (Portrait d'André Derain, 1905). He inaugurated a new style that contemporary critics named Fauvism (Le Bonheur de vivre, 1905–1906). From the early 1920s, Matisse enjoyed a worldwide reputation, being famous both for his masterfully colored compositions and for the joyful atmosphere of his works, which became the hallmark of his overall artistic production. Works by Matisse can be found in most museums of modern art around the world in addition to primary displays at the Museum Matisse in Nice and in his birthplace, Le Cateau Cambrésis.</jats:p>
Visual Resources, 2017
The research programme Bibliographie de critiques d’art francophones (Bibliography of Francophone... more The research programme Bibliographie de critiques d’art francophones (Bibliography of Francophone Art Critics) was launched in 2015, and went online in February 2017, by Marie Girspert and Catherine Méneux under the aegis of Labex CAP, Hésam, HiSCA and the University Paris 1 – Panthéon Sorbonne. The programme is supported by an online bibliographical database (http://critiquesdart.univ-paris1.fr/) dedicated to the writings of several francophone art critics active from the second half of the nineteenth century to the first half of the twentieth. The database contains, so far, more than 17,000 references and the number will progressively increase with the addition of new entries. It is a significant contribution to art historical research as it offers the opportunity to access online exhaustive lists of primary and secondary bibliography, as well as presenting up-to-date indices of the archival sources available for each one of the critics presented. As cited in the objectives of the programme, the platform is unconcerned with appreciating the critical value of the texts, but seeks to present in its entirety, as far as possible, the bibliography concerning each author no matter what the field (literature, art, politics, history etc.) or the medium (photography, cinema, fine arts, architecture etc.). The data presentation focuses on the multidisciplinary diffusion of the texts without regard to typologies or other classifications. Art criticism expanded significantly in France during the period in question. The list of authors contains the names of some of the most important figures that defined the course of twentieth-century art, such as Guillaume Apollinaire (1880–1918), Louis Aragon (1897–1982), the director of the Luxembourg museum Léonce Bénédite (1859– 1925), Georges Besson (1882–1971), Maurice Denis (1870–1943), Felix Fénéon (1861– 1944), Joris-Karl Huysmans (1848–1907), the founder and president of the Autumn Salon Frantz Jourdain (1847–1935), the cubist theoretician André Lhote (1885– 1962), Roger Marx (1859–1913), Léon Rosenthal (1870–1932) and so on. Whereas the programme refers to francophone art critics, the bibliography includes references to texts published in other languages and a list of translated titles. The bibliography is divided into a primary bibliography and a secondary bibliography. The primary bibliography brings together the entire corpus of the critics’ writings and the secondary bibliography cites thoroughly all the titles that refer to the critic and moves beyond
Journal of European Periodical Studies, 2021
The article discusses the francophone review of art and literature Sélection published in Brussel... more The article discusses the francophone review of art and literature Sélection published in Brussels (1920–22) and Antwerp (1923–33), Belgium, by André de Ridder and Paul-Gustave van Hecke. It takes as its point of departure the concept Le Génie du Nord [The Genius of the North], which was the title of a 1925 book published in Antwerp by De Ridder. The book mainly consists of essays previously published in Sélection between 1923 and 1924. De Ridder argues that France should not claim autonomy in the field of cultural production since throughout the centuries Nordic influence played a central role in its evolution. Although the book attracted little attention from the contemporary press, it offers a novel approach to the Nordic idea through the anticipation of a new classical order that distinguished itself from Southern classicism. While German expressionism is equally renounced, the book proposes a synthetic style — similar to the one that marked the gothic period — that also found e...
Routledge Encyclopedia of Modernism
Cubism is an influential modernist art movement that emerged in Paris during the first decade of ... more Cubism is an influential modernist art movement that emerged in Paris during the first decade of the twentieth century. The term was established by Parisian art critics, derived from Louis Vauxcelles, and possibly Henri Matisse’s description of Braque’s reductive style in paintings of 1908. Subsequently, it soon became a commonplace term and was widely used to describe the formalist innovations in painting pioneered by Pablo Picasso and Georges Braque from 1907 to 1914. Cubism signals the break with Renaissance tradition through the rejection of three-dimensional illusionist composition. The dull and monochromatic palette (Picasso, Still Life with a Bottle of Rum, 1911) of early Cubist painting, in addition to its emphasis on geometry, can be alternatively viewed as a reaction against the pure bright colors of the Fauves and the spontaneous color treatment of the Impressionists. Cubist art was largely influenced by the late work of Paul Cézanne and the study of primitive art and, mo...
The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house a... more The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred around Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena th...
Il Capitale Culturale: Studies on the Value of Cultural Heritage, 2016
The paper comments on the state policies towards modern art throughout the interwar period identi... more The paper comments on the state policies towards modern art throughout the interwar period identifying the private initiatives that sought to precipitate the creation of a museum of contemporary art in Paris. It seeks to discuss the debate over the necessity for the creation of a Museum of Modern Art in Paris that was initiated in the Parisian press shortly after the controversial “Exposition Internationale des Arts Decoratifs et Industriels Modernes”, in 1925, and was perpetuated with the re-organisation of the collections of the Louvre, the Luxembourg museum, and the Jeu de Paume in the late 1920s. The offi cial announcement, in 1934, of the creation of a museum of modern art in Paris, in 1937, initiated a new debate that concerned its collections. A series of exhibitions organised on the occasion of the “Exposition Internationale des Arts et Techniques”, in 1937, served as a model for the shaping of an evolutionary narrative for French art in which modern art that emerged from 1...
Konsthistorisk Tidskrift Journal of Art History, Nov 26, 2013
Routledge Encyclopedia of Modernism, 2014
Konsthistorisk tidskrift/Journal of Art History, 2015
French Cultural Studies, 2014
Review by Chara Kolokytha, Independent Scholar. Casini's study focuses on the comprehensive explo... more Review by Chara Kolokytha, Independent Scholar. Casini's study focuses on the comprehensive exploration of the life and contributions of the Jewish-French art dealer, Léonce Rosenberg, within the annals of art history. Addressing a conspicuous dearth of scholarly acknowledgment of his significance, the author underscores the catalysing role played by Christian Derouet. Derouet's exclusive access to the dealer's archives, secured with Lucienne Rosenberg's authorization in 1983, sparked scholarly interest in Rosenberg, while he made his archive available in the Kandinsky library (Centre Pompidou, Paris). His subsequent publications have significantly enriched the field, notably revealing Rosenberg's extensive correspondence and exploring his activities and position in the Parisian art scene. Building upon this foundation, Casini's research employs an archival approach, drawing from a range of both published and unpublished primary sources, supplemented by extensive references to relevant bibliography. Casini states that his aim is to provide a nuanced understanding of Rosenberg's ideas and impact, rather than to contribute to the currently prevalent quantitative approach of art market studies. This statement might be perceived as not fully acknowledging the extensive qualitative research conducted on the twentieth-century art market, even though the book builds upon this existing research. Departing from conventional linear narratives, the study adopts a historical methodology that seeks to offer an alternative perspective on the post-Picasso and Braque era of Cubism. Organized chronologically along the trajectory of Rosenberg's life, each chapter delves into specific themes, illuminating the diverse dimensions of his enduring legacy.