{"id":2614,"date":"2014-01-16T00:00:00","date_gmt":"2014-01-16T00:00:00","guid":{"rendered":"http:\/\/20728"},"modified":"2014-01-16T00:00:00","modified_gmt":"2014-01-16T00:00:00","slug":"qu-est-ce-que-les-tudes-de-genre-font-l-histoire-de-l-art","status":"publish","type":"post","link":"https:\/\/siefar.org\/gb\/qu-est-ce-que-les-tudes-de-genre-font-l-histoire-de-l-art\/","title":{"rendered":"Qu’est-ce que les \u00e9tudes de genre font \u00e0 l’histoire de l’art ?"},"content":{"rendered":"

<\/em><\/p>\n

15h-17h<\/span><\/div>\n
<\/span>Galerie Colbert<\/span><\/div>\n
<\/span>Salle Giorgio Vasari<\/span><\/div>\n
<\/span>2, rue Vivienne<\/span><\/div>\n
<\/span>75002 Paris<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>Acc\u00e8s : 6 rue des Petits-Champs<\/span><\/div>\n
<\/span>entr\u00e9e libre<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>Qu’il soit d\u00e9fini comme construction sociale,<\/span>identification \u00e0 des normes et des mod\u00e8les ou<\/span>performance, le genre se caract\u00e9rise avant tout<\/span>comme une repr\u00e9sentation sociale et culturelle,<\/span>\u00e0 laquelle coop\u00e8rent, notamment, ces autres<\/span>repr\u00e9sentations que sont les oeuvres d’art. Cette<\/span>double programmation combinant un s\u00e9minaire de<\/span>recherche et un cycle de conf\u00e9rences entend aborder<\/span>les modalit\u00e9s concr\u00e8tes par lesquelles l’art participe<\/span>\u00e0 la construction des genres, et comment, en retour,<\/span>ceux-ci agissent tout aussi concr\u00e8tement sur leurs<\/span>conditions de production et sur la carri\u00e8re de ses<\/span>agents. \u00c0 partir d’\u00e9tudes de cas et de situations<\/span>entre la Renaissance et le d\u00e9but de la p\u00e9riode<\/span>contemporaine, elle entend mettre en \u00e9vidence un<\/span>ensemble de probl\u00e9matiques sp\u00e9cifiques \u00e0 l’\u00e9tude<\/span>des oeuvres et des productions des femmes, tout<\/span>en soulignant les apports des \u00e9tudes de genre \u00e0<\/span><\/div>\n
\n
l’histoire de l’art du dernier demi-si\u00e8cle ? non<\/span>seulement pour ce qui concerne l’histoire des<\/span>femmes et du genre proprement dits, mais aussi,<\/span>comme l’\u00e9crivait d\u00e9j\u00e0 Linda Nochlin en 1971, dans<\/span>leur capacit\u00e9 \u00e0 questionner les idiosyncrasies de la<\/span>discipline dans son ensemble.<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>Ce s\u00e9minaire propose de r\u00e9unir des chercheurs,<\/span>conservateurs et th\u00e9oriciens dont les objets de<\/span>recherche ont \u00e9t\u00e9 inspir\u00e9s par ces avanc\u00e9es de<\/span>l’historiographie depuis les ann\u00e9es 1970 avant<\/span>d’\u00eatre \u00e0 leur tour sources de nouvelles questions.<\/span>Parmi elles : l’\u00e9largissement des corpus de l’histoire<\/span>de l’art ; l’\u00e9tude anthropologique des usages des<\/span>images ; l’histoire des m\u00e9tiers, de la production<\/span>et du commerce des objets d’art ; l’histoire du<\/span>go\u00fbt et de la commande ; l’histoire des collections<\/span>publiques ; l’iconographie et l’histoire culturelle<\/span>des femmes ; la question de l’auctorialit\u00e9 et de la<\/span>signature ; la copie et les pratiques amateures ;<\/span>les imaginaires et les statuts sociaux des artistes<\/span>femmes ; l’histoire de la r\u00e9ception publique et<\/span>critique des cr\u00e9ations f\u00e9minines.<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>\u00ab 16 janvier \u00bb<\/span><\/strong><\/div>\n
<\/span>Le genre en situation<\/span><\/strong><\/div>\n
<\/span>Ouverture par Fr\u00e9d\u00e9rique Desbuissons,<\/span>Anne Lafont, Marcella Lista :<\/span>Apr\u00e8s 50 ans : o\u00f9 en sommes-nous des \u00e9tudes<\/span>de genre en histoire de l’art ?<\/span><\/div>\n
<\/span>Mary Sheriff (University of North Carolina,<\/span>Chapel Hill) : Comment le genre a transform\u00e9<\/span>la question des femmes artistes<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>\u00ab 13 f\u00e9vrier \u00bb<\/span><\/strong><\/div>\n
<\/span>Femmes fortes : image de soi<\/span>et pouvoir<\/span><\/strong><\/div>\n
<\/span>Sara Matthews-Grieco (Syracuse University,<\/span>Florence) : Artistes-peintres italiennes<\/span>et construction de l’identit\u00e9 de la pittora :<\/span>Sofonisba Anguissola, Lavinia Fontana,<\/span>Artemisia Gentileschi<\/span><\/div>\n
<\/span>Bettina Uppenkamp (Hochschule f\u00fcr Bildende<\/span>K\u00fcnste, Dresde) : Qui souhaitait des h\u00e9ro\u00efnes ?<\/span>Les femmes artistes italiennes et leurs commanditaires<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>\u00ab 20 mars \u00bb<\/span><\/strong><\/div>\n
<\/span>Acad\u00e9miciennes au miroir<\/span><\/strong><\/d\niv><\/p>\n
<\/span>Marie-Catherine Sahut (mus\u00e9e du Louvre) :<\/span>\u00ab Elle a la fureur du m\u00e9tier \u00bb. L’academicienne Anna<\/span>Dorothea Therbusch vue par Diderot. 1765-1768<\/span><\/div>\n
<\/span>Laura Auricchio (The New School, New York) :<\/span>Au-del\u00e0 de l’Acad\u00e9mie : \u00e9crire l’histoire des femmes<\/span>artistes du xviii e si\u00e8cle<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>\u00ab 10 avril \u00bb<\/span><\/strong><\/div>\n
<\/span>Carte blanche \u00e0 Susan Siegfried<\/span><\/strong><\/div>\n
Susan Siegfried (University of Michigan,<\/span>Ann Arbor) : Imaginer un persona f\u00e9minin<\/span>dans la France postr\u00e9volutionnaire<\/span><\/div>\n
<\/span>Discutante : Nicole Pellegrin (charg\u00e9e<\/span>de recherche, CNRS)<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>\u00ab 22 mai \u00bb<\/span><\/strong><\/div>\n
<\/span>Autoportraits et filiations<\/span><\/strong><\/div>\n
<\/span>Melissa Hyde (University of Florida, Gainesville) :<\/span>Peint par elle-m\u00eame ? La femme artiste entre<\/span>autorit\u00e9 et identit\u00e9 au xviii e si\u00e8cle<\/span><\/div>\n
<\/span>S\u00e9verine Sofio (CNRS) : Des femmes se repr\u00e9sentent :<\/span>autoportraits et conditions sociales de possibilit\u00e9<\/span>d’une identit\u00e9 collective au tournant du xix e si\u00e8cle<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>n.b. : Les intervenantes non francophones<\/span>s’exprimeront en anglais.<\/span><\/div>\n
<\/span>
<\/div>\n
<\/span>Contact <\/span><\/strong>: leonie.marquaille@inha.fr<\/a><\/span><\/div>\n
<\/span>Institut national d’histoire de l’art<\/span><\/div>\n
<\/span>2 rue Vivienne \/ 6 rue des Petits-Champs 75002 Paris<\/span><\/div>\n
<\/span>M\u00e9tro : Bourse ou Palais Royal ? Mus\u00e9e du Louvre<\/span><\/div>\n<\/div>\n
<\/div>\n<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

15h-17h Galerie Colbert Salle Giorgio Vasari 2, rue Vivienne 75002 Paris Acc\u00e8s : 6 rue des Petits-Champs entr\u00e9e libre Qu’il soit d\u00e9fini comme construction sociale,identification \u00e0 des normes et des mod\u00e8les ouperformance, le genre se caract\u00e9rise avant toutcomme une repr\u00e9sentation sociale et culturelle,\u00e0 laquelle coop\u00e8rent, notamment, ces autresrepr\u00e9sentations que sont les oeuvres d’art. Cettedouble programmation […]<\/p>\n","protected":false},"author":2,"featured_media":1680,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7,13],"tags":[],"categorie_personnage":[],"class_list":["post-2614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualites","category-manifestations-scientifiques"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"gb","enabled_languages":["fr","gb"],"languages":{"fr":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/2614","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/comments?post=2614"}],"version-history":[{"count":0,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/2614\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media\/1680"}],"wp:attachment":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media?parent=2614"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categories?post=2614"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/tags?post=2614"},{"taxonomy":"categorie_personnage","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categorie_personnage?post=2614"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}