Navigation – Plan du site

AccueilPublications à venirAppels en coursLearning/Teaching, no. 2026 – 1

Sommaire - Document précédent

Learning/Teaching, no. 2026 – 1

Proposal deadline: 10 February 2025
Traduction de Miriam Rosen
image_learning_2026-1Afficher l’image
Crédits : photo © Bodleian Libraries, University of Oxford

Does one learn to become an artist? This question, which traverses the history of contemporary art (Douar, Waschek, 2004), has never been resolved. It reflects – and confronts – aesthetic, philosophical, cultural and perhaps even religious concepts. From the standpoint of art history, however, the answer can only be positive, given that artistic production is largely a matter of artist-to-artist legacies and transmissions, whether on a daily basis in the studio and the closed circuit of the school or through the study of works and artists over a wide spectrum of time and space.

The predominance of a school-based organisation of art education, inherited from a system introduced by the European academies of the Renaissance, has promoted a particular kind of institutional structure, which has in turn been the subject of the earliest and most numerous studies (Pevsner, [1940] 1973; Belzer, Birnbaum, 2007; Poulot, Pire, Bonnet, 2010; Nerlich, Vratskidou, 2022). However, this western model is only one element in the complex, shifting mosaic of the history of art education. In recent years, there has been an upsurge of research on the ways that art is learned and taught over time and in various regions of the world. The attention paid to the theoretical and practical frameworks of art education, where it takes place, the social relations it generates, the role of different bodies of references, as well as the history of art and forms, thus expands the question far beyond academic education per se. This issue of Perspective is intended to examine recent research on the ways of learning to be an artist from antiquity to the present day, and especially over a wide variety of geographical areas and cultures. Such an approach necessarily draws on a vast multidisciplinary effort, involving contributions from the education sciences, visual arts, history and sociology, ethnology and digital humanities.

Indeed, several databases have recently been developed, including “Transnational Slade, Phase I. Mapping the Diaspora of an Art School” (2013-2014) and “Phase II. Slade, London, Asia” (2019-2021), which examine the London-based Slade School of Fine Art as a hub of cultural transfers. A major forerunner is the “Dictionnaire des élèves architectes de l’École des beaux-arts de Paris (1800-1968)” (Crosnier Leconte, 2015), a database published in 2015, as is the research programme on the history of art education from the 19th century to the present that was initiated by France’s École nationale des Chartes in 2016. Other disciplines are also considering this question, as demonstrated by the “EnDansant” project on the history of dance teachers in France since the 17th century to the present day. And exhibitions have addressed the theme as well, including “L’art d’apprendre. Une école de créateurs” [The Art of Learning: A School for Creators] (Centre Pompidou-Metz, 2022), “L’Énigme autodidacte” [The Self-Taught Enigma] (MAMC Saint-Étienne, 2021-2022) and “Souvenirs de jeunesse. Entrer aux Beaux-arts de Paris, 1780-1980” [Youthful Memories: Entering the Beaux-Arts de Paris, 1780-1980] (Beaux-Arts de Paris, 2024-2025). We are thus witnessing a particularly dynamic moment in historiographical terms.

On the other hand, what do we know about transmissions outside the art schools and academies that have been the most thoroughly studied? To what extent can recent investigations of the academies of the modern period (Perrin Khelissa, Roffidal, 2024), for example, or on the history of architecture instruction in the 19th and 20th centuries (Châtelet, Diener, Dumont et al, 2022) be transposed to other cultural contexts, in particular colonialism or postcolonialism (Cavalcanti Simioni, 2008; Sanyal, 2013; Yu-Ta, 2017; Aliata, Gentile, 2022)? If we consider art to be a historically situated concept invented in Europe in the modern era, should we not be looking for other models – studies of craft production, for example – in order to understand art education in broader spatial and chronological terms?

Ethnology has long demonstrated its usefulness in epistemological terms (Chamoux, 2010; Doublier, 2017; Ingold, 2013; Joulian, Shimada, Takada et al., 2021). Sociological approaches have often seemed especially adapted for studying this kind of relationships (Sennett, 2008; Menger, 2014; Vandenbunder, 2014 and 2015). How do such studies affect art-historical methods and mentalities? Artistic training clearly occupies a place in the learning sciences, especially with regard to the school environment (Gaillot, [1997] 2012; Bonnéry, Deslyper, 2020; Espinassy, 2024). How does this field intersect with art history beyond the predictable reference to John Dewey’s “learning by doing” (Dewey, [1916] 2016) and its incarnation in Black Mountain College (Duberman, 1973; Cometti, Giraud, 2014)? The study of teaching and learning processes always poses a methodological challenge, and all the more so in the case of art: how can we grasp what is transmitted or acquired through fleeting gestures or words, and understood through the sense of touch or the gaze, in other words, the informal part of education (Furrer, Gabri, Louveau et al., 2022; Meisel, 2022; Orlando, 2024)? Here, we can only attempt to identify the written and visual sources and other tools now available to art historians studying art learning processes, including those outside the contemporary world and western art schools: policy statements, preparatory documents, notes and student works, as well as individual recollections.

From a transhistorical and transnational perspective, developments in the methods and structures of artistic transmission accompany profound changes in the very conception of creation, which continuously fluctuates between the appreciation of reproduction and the encouragement of novelty – learning and unlearning. Over time, the relations between art and craft, history and contemporaneity, the balance between technique and originality, the conception and use of culture, references and the connection with production structures have thus reflected most of the successive changes and reforms in artistic training. How can studies on transmission shed specific light on knowledge about the theories of art proper to each era and culture?

Learning is a political activity and – like the teaching relationship – the places where it occurs, be it the family, the studio, the school or the university, have been and still remain privileged ideological battlegrounds, as expressed through aesthetic or technical choices, activist commitments and so on. How does art history address the place of gender, racism, sexual orientation or social background in artistic learning processes today (Léon, 2020; Butt, 2022; Lagrange, Sotropa, 2022; Laks, Sassu Suarez Ferri, 2023; Provansal, 2023)? In what ways does the export of teaching models throughout the colonial empires and the entire world reflect both geopolitical and intellectual stakes? What is the importance of power relations and dominations in learning?

This issue Learning/Teaching seeks to be transhistorical and international in its scope and methodological approaches alike. To this end, we would like to explore the diverse modes of learning and their evolution in terms of four main themes:

1. Theories and practices of transmission

How is the framework of artistic training defined? It is conceived according to the knowledge and skills to be transmitted but also reflects the representations of resulting practices and future professions, whether this entails producing able hands and minds or nurturing inventive genius. Considering the immersion in a studio where production and training are combined helps to grasp so-called osmotic learning processes. Examining the way didactic inputs, exercises and assessments (class, studio, correcting) interact can lead to a typology of the various pedagogies, in terms of methods and content. Observing the spaces where new forms of creation are being invented allows us to assess the respective weights of the adaptation, assimilation, reinvention or rejection of artistic canons. Their development expresses at once the consciousness of routines and the desire to change paradigms (Bonnet, Lavie, Noirot, Rinuy, 2014). But it also attests to processes of transmission and hybridisation from one geographical area to another, as illustrated by the Beaux-Arts model in the 19th century (Aliata, Gentile, 2022; Nerlich, Vratskidou, 2022) or that of the Bauhaus in the 20th century (Kentgens-Craig, 1999). They also reflect interactions between educational spheres addressing themselves to different publics (D’Enfert, 2003). In this way, the recourse to various educational theories, including teaching methods initially conceived for children, such as those of Maria Montessori in Italy and Célestin Freinet in France, contributed to changes in teaching practices, the relationship to teachers, their authority and expectations. The explicitly alternative methods emerging in the contemporary period draw on a vast theoretical corpus, which raises the question, for example, of how feminist and decolonial thought have inspired educational practices (Freire, [1968] 1970; hooks, 1994 and 2010; Madoff, 2009).

2. Participants in the learning/teaching process

With whom do artists learn? What are the roles of school teachers and parents, but also classmates and older siblings? In the past, art historians placed a great deal of emphasis on the idea of a “school”, around the name of an artist, a city or a country (Michel, 2012) but this model is now called into question in favour of examining the complex reciprocal relationship between master and student, where transmission does not exclude opposition or rejection. Current interest in student populations attests to the changing attitude towards their role in training programmes (cf. the recent publication of the Reg-Arts database, giving access to enrolment registers at the Beaux-Arts de Paris from 1813 and 1968). Rather than focusing on the reproduction of a local style, the focus on cultural transfers now raises the question of the roles of learners such as foreign students or those from minority backgrounds. Within these relationships, the interactions inherent in the learning dynamic help to forge collective representations, an imaginary, or even an “almost tribal or clan bond” (Martinon, 2003). The positive effects of this bond can be seen in the affiliations or distances maintained by students once they become teachers, or in the construction of support networks, across a given territory or beyond borders. That said, the question of sexist or sexual violence, inequalities and discrimination in the teaching programmes and relationships between students cannot be overlooked. We are thus particularly interested in studies considering the whole of the actors in the learning process as elements of a continuously changing ecosystem, as well as the ways art history has at times valued qualities such as individual creativity or talent and at others, more collective, hierarchical practices. By extension, the ways that self-education and self-educated artists are considered might also be examined.

3. Material conditions, places and time frames of training

What are the material conditions of art education? What are the “places” (physical places, instruments, artefacts) as defined by historian Christian Jacob (Jacob, 2011)? These places, tied to modes of transmission or precise teaching methods, are characterised by spatial arrangements governing the distribution of the actors through a group of tools and objects which, in addition to their usefulness, constitute a decor that captures the reality of creation on a daily basis. The offshoots of this educational environment are numerous, from the copy of a work in situ or in the museum to summer schools and other study trips recalling the Grand Tour of an aristocratic European education or the apprenticeship system of craft workers making their Tour de France (Icher, 2007). More recently, studio exhibitions and public presentations of diploma projects also accelerate the learning experience. We are particularly open to proposals that address this wide variety of rituals marking the transmission process, from competitive exams to carnivals (Conte, 2023) and which offer a complementary view of training places and time frames. And we are interested as well in both the export of western models of educational spaces in the colonial context and art education structures in decolonised countries.

4. Art history for artists

What is the role of art history in learning/teaching the creative process? Young artists sometimes invoke a group of models, a body of references they rely on like a circle of friends allowing them to situate themselves within a history and identify affiliations. What is a history of art created for and by artists? What is the place of history and emotion in what sometimes appears to be a cultural heritage and at other times, an aesthetic tool kit? By extension, collections associated with learning structures not only provide useful artefacts but stimulate immersion in an imaginary. These collections, bringing together copies of antiquities, academic exercises, gifts from workshop heads, student projects, outstanding artworks inspiring new experiments and/or “fetishes”, are veritable melting-pots of knowledge and history that allow a direct, tangible relationship with the artworks of the past. Whether assembled through the accumulation of useful materials for studio practice or carefully selected by the schools, intended for students or based on their work, these collections constitute a particularly rich resource for research (Joly-Parvex, 2001). And in turn, we can ask how artists play a role in learning the history of art, how their practices, themes and debates affect its teaching and reception among younger generations (McLean, 2011).

Perspective : actualité en histoire de l’art

Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to bring out the diversity of current research in art history, highly situated and explicitly aware of its own historicity. It bears witness to the historiographic debates within the field without forgetting to engage with images and works of art themselves, updating their interpretations as well as fostering intra- and inter-disciplinary reflection between art history and other fields of research, the humanities in particular. In so doing, it also puts into action the “law of the good neighbor” as conceived by Aby Warburg. All geographical areas, periods, and media are welcome.

The journal publishes scholarly texts which offer innovative perspectives on a given theme. Its authors contextualize their arguments using case studies allows them to interrogate the discipline, its methods, its history, and its limits. Moreover, articles that are proposed to the editorial committee should necessarily include a methodological dimension, provide an epistemological contribution, or offer a significant and original historiographic evaluation. Depending on the subject, related bibliographical considerations and the geographical area and time period under consideration, two types of contributions are possible: 1) a study focusing on a specific historiographical question and proposing an original, situated analysis of the key issues, methodology and approach adopted (3,500-4,000 words/20,000-25,000 characters); 2) an essay on a more general theme offering a critical assessment based on selected bibliographical references and considering the changes in orientations, approaches and methodologies that have emerged over the past decade (7,000 words/40,000/45,000 characters, excluding bibliographical references).

Learning/Teaching, no. 2026 – 1

Editor: Thomas Golsenne (INHA)

Guest editors: Déborah Laks (CNRS) et Guy Lambert (École nationale supérieure d’architecture de Paris-Belleville)

Editorial board/ Comité de rédaction members here.

Proposal deadline: 10 February 2025. Please send your proposals (a summary of 200-500 words/ 2,000-3,000 characters, a working title, a short bibliography on the subject and a brief biography) to the editors (revue-perspective@inha.fr).

Proposals will be examined by the editorial board regardless of language (the translation of articles accepted for publication is handled by Perspective).

The authors of the pre-selected projects will be informed of the editorial board’s decision before the end of February 2025. The full articles (4,000-7,000 words/25,000-45,000 characters, depending on the nature of the project) must be received by 1st June 2025. These will be accepted in final form after an anonymous peer-review process.

Bibliographie

Aliata, Gentile, 2022: Fernando Aliata, Eduardo César Gentile (eds.), El modelo beaux-arts y la arquitectura en América Latina, 1870-1930. Transferencias, intercambios y perspectivas transnacionales, symposium acts (HiTePAC, Universidad Nacional de La Plata [FAU-UNLP]/IPRAUS, École nationale supérieure d’architecture de Paris-Belleville/HiCSA, université Paris 1 – Panthéon-Sorbonne, 2019), La Plata, FAU-UNLP, 2022.

Belzer, Birnbaum, 2007: Heiki Belzer, Daniel Birnbaum (eds), Kunst lehren/Teaching Art, exh. cat. (Frankfurt am Main, Städtische Galerie im Städelsche Kunstinstitut, 2007), Köln, W. König, 2007.

Bishop, 2012 : Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, London/New York, Verso, 2012.

Boisserolles, Ferrand, Simier, 2018: Claire Boisserolles, Stéphane Ferrand, Amélie Simier (eds), Transmission/transgression. Maîtres et élèves dans l’atelier : Rodin, Bourdelle, Giacometti, Richier…, Paris, Paris Musées, 2018.

Bonafoux, Danétis, 1997: Pascal Bonafoux, Daniel Danétis (eds), Critique et enseignement artistique. Des discours aux pratiques, summer university papers (université Paris 8 Vincennes/Sèvres, Centre international d’études pédagogiques, Oct. 1995), Paris, L’Harmattan, 1997.

Bonnéry, Deslyper, 2020: Stéphane Bonnéry, Rémi Deslyper, “Enseignement de l’art, art à l’école: tour d’horizon des recherches en France”, Cahiers de la recherche sur l’éducation et les savoirs, no. 7-1, 2020, pp. 5-40 [DOI: https://doi.org/10.4000/cres.4220].

Bonnet, 2006: Alain Bonnet, L’Enseignement des arts au xixe siècle. La réforme de l’École des beaux-arts de 1863 et la fin du modèle académique, Rennes, Presses universitaires de Rennes, 2006.

Bonnet, Lavie, Noirot et al., 2014: Alain Bonnet, Juliette Lavie, Julie Noirot et al. (eds), Art et transmission. L’atelier du xixe au xxie siècle, conference papers (Paris, INHA, 2009), Rennes, Presses universitaires de Rennes, 2014.

Bouillon, Guillerme, Mille et al., 2017: Didier Bouillon, André Guillerme, Martine Mille et al. (eds), Gestes techniques, techniques du geste, Villeneuve d’Ascq, Presses universitaires du Septentrion, 2017.

Buren, 1998: Daniel Buren, Au sujet de… Entretien avec Jérôme Sans, Paris, Flammarion, 1998.

Butt, 2022: Gavin Butt, No Machos or Pop Stars: When the Leeds Art Experiment Went Punk, Durham, NC, Duke University Press, 2022.

Cavalcanti Simioni, 2008: Ana Paula Cavalcanti Simioni, Profissão Artista: pintoras e escultoras acadêmicas brasileiras, São Paulo, Editora da Universidade de São Paulo, 2008.

Chamoux, 2010: Marie-Noëlle Chamoux, “La transmission des savoir-faire : un objet pour l’ethnologie des techniques ?”, Techniques et Culture, nos. 54-55, 2010, pp. 139-161 [DOI: https://doi.org/10.4000/tc.4995].

Chapuis, 1997: Jacques Chapuis (ed), L’Artistique : arts plastiques, art et enseignement, conference papers (Saint-Denis, FR, Mar. 1994), Champigny-sur-Marne, CRDP de Créteil, 1997.

Château, 1999: Dominique Château, Arts plastiques, archéologie d’une notion, Nîmes, Jacqueline Chambon, 1999.

Châtelet, Diener, Dumont et al., 2022: Anne-Marie Châtelet, Amandine Diener, Marie-Jeanne Dumont et al. (eds), L’Architecture en ses écoles. Une encyclopédie de l’enseignement de l’architecture au xxe siècle, Châteaulin, Éditions Locus Solus, 2022.

Cohen-Lévinas, 1992: Danielle Cohen-Lévinas (ed.), L’Art : créer, transmettre, conference papers (Art public contemporain), Villeurbanne, Art édition, 1992.

Côme, 2016: Tony Côme, L’Institut de l'environnement. Une école décloisonnée, Paris, B42 éditions, 2016.

Cometti, Giraud, 2014: Jean-Pierre Cometti, Éric Giraud (eds), Black Mountain College. Art, démocratie, utopie, Rennes/Marseille, Presses universitaires de Rennes/Centre international de poésie, 2014.

Conte, 2023: Isabelle Conte, Quat’Z’Arts. L’art en fête à l’École des beaux-arts (1892-1966), Paris/Bruxelles, Archives d’architecture moderne, 2023.

Crosnier Leconte, 2015: Marie-Laure Crosnier Leconte (ed.), Dictionnaire des élèves architectes de l’École des beaux-arts de Paris (1800-1968), AGORHA database (partership Archives nationales de France/Centre André Chastel/École nationale supérieure des beaux-arts, Paris/École nationale supérieure d’architecture Paris-Belleville/Institut national d’histoire de l’art/Inventaire général du patrimoine culturel), 2015 [URL: https://agorha.inha.fr/ark:/54721/7].

Da Silva, 2020: Jean Da Silva, Une part de risque. Les Arts plastiques à l’université Paris 1 – Panthéon-Sorbonne (1969-2019), Paris, Éditions de la Sorbonne, 2020.

De Marchi, Seccaroni, 2024: Andrea G. De Marchi, Claudio Seccaroni (eds), Michael Sweerts. Realtà e misteri nella Roma del Seicento, exh. cat. (Rome, Accademia Nazionale di San Luca), Rome, Accademia Nazionale di San Luca, 2024.

Debarre, Maniaque, Marantz et al., 2020: Anne Debarre, Caroline Maniaque, Éléonore Marantz et al. (eds), Architecture 68. Panorama international des renouveaux pédagogiques, Geneva, Métis Presses, 2020.

Dewey, (1916) 2016: John Dewey, Democracy and Education: An Introduction to the Philosophy of Education (1916), New York, Macmillan, 2016.

Dewey, (1934) 2010 : John Dewey, Art as Experience (1934), New York, G. P. Putnam, 1980.

Dosse, 2024: François Dosse, Vincennes : heurs et malheurs de l’université de tous les possibles, Paris, Payot, 2024.

Douar, Waschek, 2004: Fabrice Douar, Matthias Waschek (eds), Peut-on enseigner l’art ?, Paris, École nationale des beaux-arts/Musée du Louvre, 2004.

Doublier, 2017: Alice Doublier, “La texture du monde. Apprendre la céramique dans une université d’art de Kyōto”, PhD diss., Sophie Houdart (supervisor), Université Paris-Nanterre, 2017.

Dressen, 2021: Angela Dressen, The Intellectual Education of the Italian Renaissance Artist, Cambridge/New York, Cambridge University Press, 2021.

Duberman, 1972: Martin Duberman, Black Mountain: An Exploration in Community, New York, E. P. Dutton and Company, 1972.

Enfert, 2003: Renaud d’Enfert, L’Enseignement du dessin en France. Figure humaine et dessin géométrique (1750-1850), Paris, Belin, 2003.

Espinassy, 2024: Laurence Espinassy, “Dimensions socio-didactiques de l’enseignement des arts plastiques”, Didactiques et disciplines, no. 2/4: Pour une approche socio-didactique des disciplines scolaires, 2024, pp. 55-69 [DOI: https://doi.org/10.34874/PRSM.dd-vol2iss4.50013].

Feigenbaum, 2018: Gail Feigenbaum, “Models and natures in the Carracci Academy”, in Sybille Ebert-Schifferer, Annick Lemoine, Magali Théron et al. (eds), Arte dal naturale, conference papers (Rome, Villa Médicis – Académie de France à Rome/Marseille, MUCEM, 2014), Rome, Campisano, 2018, pp. 35-51.

Ferran, Rollinat-Levasseur, Vanoosthuyse, 2017: Florence Ferran, Ève-Marie Rollinat-Levasseur, François Vanoosthuyse (eds), Image et enseignement. Perspectives historiques et didactiques, Paris, Honoré Champion, 2017.

Figeac-Monthus, 2018: Marguerite Figeac-Monthus (ed), Éducation et culture matérielle en France et en Europe du xvie siècle à nos jours, Paris, Honoré Champion, 2018.

Findeli, 1995: Alain Findeli (ed), Le Bauhaus de Chicago. L’œuvre pédagogique de László Moholy-Nagy, Québec/Paris, Septentrion/Klincksieck, 1995.

Forest, 2002: Fred Forest, Repenser l’art et son enseignement. Les écoles de vie, Paris, L’Harmattan, 2002.

Freire, (1968) 1970: Paulo Freire, Pedagogy of the Oppressed, trans. Myra Bergman Ramos, New York, Seabury Press, 1970.

Frontisi-Ducroux, 2000: Françoise Frontisi-Ducroux, Dédale. Mythologie de l’artisan en Grèce ancienne, Paris, La Découverte, 2000.

Furrer, Gabrí, Louveau et al., 2022: Wiktoria Furrer, Carla Gabrí, Nastasia Louveau et al., How to Teach Art?, workshop papers (Zurich, Apr.-July. 2018), Zurich, Diaphanes, 2022.

Gaillot, (1997) 2012: Bernard-André Gaillot, Arts plastiques. Éléments d’une didactique critique (1997), Paris, PUF, 2012.

Gaussuin, Hadjiat, Lafourcade, 2024: Bérénice Gaussuin, Mohammed Hadjiat, Florence Lafourcade (eds), Les Élèves d’Eugène Viollet-le-Duc, study day papers (Paris, INHA/ENSBA, Feb. 2020), Villeneuve d’Ascq, Presses universitaires du Septentrion, 2024.

Goldstein, 1996: Carl Goldstein, Teaching Art: Academies and Schools from Vasari to Albers, Cambridge/New York, Cambridge University Press, 1996.

Goulão, 1989: Maria José Goulão, “O Ensino artístico em Portugal: subsídios para a história da Escola Superior de Belas Artes do Porto”, Mundo da Arte, no. 3, 1989, pp. 21-37.

Gourbe, 2017: Géraldine Gourbe (ed), In the Canyon, Revise the Canon – Savoir utopique, pédagogie radicale et artist-run community art space en Californie du sud, Regnéville-sur-Mer, Shelter Press, 2015.

Goyon, 2011: Marie Goyon, “Comment être artiste, femme et autochtone au Canada ? Du stigmate à son renversement dans l’art contemporain”, Sociologie de l’art, no. 18/3, 2011, pp. 35-52 [DOI: https://doi.org/10.3917/soart.018.0035].

Grenand, Renault-Lescure, 1990: Françoise Grenaud, Odile Renault-Lescure, Pour un nouvel enseignement en pays amérindien. Approche culturelle et linguistique, Paris, Orstom, Institut français de recherche scientifique pour le développement en coopération, 1990.

Heilmann, Nonobashvili, Teutenberg, 2014: Maria Heilmann, Nino Nonobashvili, Tobias Teutenberg (eds), Punkt, Punkt, Komma, Strich: Zeichenbücher in Europa (ca. 1525-1925), exh. cat. (Munich, Zentralinstitut für Kunstgeschichte, 2014; Heidelberg, Universitätsbibliothek, 2015-2016), Passau, DE, Klinger 2014.

Hochmann, Leproux, Nassieu Maupas, 2023: Michel Hochmann, Guy-Michel Leproux, Audrey Nassieu Maupas (eds), Le Métier de peintre en Europe au xvie siècle, Paris, Institut d’histoire de Paris, 2023.

hooks, 1994: bell hooks, Teaching to Transgress: Education as the Practice of Freedom, New York, Routledge, 1994.

hooks, 2010 : bell hooks, Teaching Critical Thinking: Practical Wisdom, New York, Routledge, 2010.

Horta Mesa, 2015: Aurelio Alberto Horta Mesa (ed.), Coloquios del diseño: pedagogía, disciplina y profesión, Bogota, Universidad Nacional de Colombia, 2015.

Hulten, 2004: Pontus Hulten (ed), Quand les artistes font école. Vingt-quatre journées de l’Institut des hautes études en arts plastiques, I. (1988-1990), II. (1991-1992), Paris/Marseille, Éditions du Centre Pompidou/Ville de Marseille, Musées de Marseille, 2004.

Icher, 2007: François Icher, “Le chef-d’œuvre du compagnon”, in Jacob, 2007, pp. 246-269.

Ingold, 2013: Tim Ingold, Making: Anthropology, Archaeology, Art and Architecture, London, Routledge, 2013.

Jacob, 2007: Christian Jacob (ed), Lieux de savoir, I. Espaces et communautés, Paris, Albin Michel, 2007.

Jacob, 2011: Christian Jacob (ed), Lieux de savoir, II. Les mains de l’intellect, Paris, Albin Michel, 2011.

Jacques, 2001: Annie Jacques (ed), Les « Beaux-arts », de l’Académie aux Quat’z’arts. Anthologie historique et littéraire, Paris, École nationale supérieure des beaux-arts, 2001.

Joly, 2020: Frédérique Joly, Enseignant.e.s en écoles d’art. Enquête sociologique sur les enseignant.e.s des écoles supérieures d’art, Paris, L’Harmattan, 2020.

Joly-Parvex, 2001: Morwena Joly-Parvex (ed), In situ. Revue des patrimoines, no. 43: Des écoles d’art académiques aux écoles d’art. Des collections et des lieux, un patrimoine à valoriser, 2021 [URL:https://journals.openedition.org/insitu/28402].

Jonker, 2022: Matthijs Jonker, The Academization of Art: A Practice Approach to the Early Histories of the Accademia del Disegno and the Accademia di San Luca, Rome, Edizioni Quasar, 2022.

Joulian, Shimada, Takada et al., 2021: Frédéric Joulian, Masaki Shimada, Akira Takada et al. (eds), Techniques et Culture, no. 76: Waza. L’art ineffable de l’apprentissage, 2021 [URL: https://doi.org/10.4000/tc.16054].

Kentgens-Craig, 1999: Margret Kentgens-Craig, The Bauhaus and America: First Contacts (1919-1936), Cambridge, MA, MIT Press, 1999.

Kihm, Mavridorakis, 2013: Christophe Kihm, Valérie Mavridorakis (eds), Transmettre l’art. Figures et méthodes. Quelle histoire ?, conference papers (Nantes, École supérieure des beaux-arts, 2010; Genève, Haute école d’art et de design, 2011), Dijon, les Presses du réel, 2013.

Lagrange, Sotropa, 2022: Marion Lagrange, Adriana Sotropa (eds), Élèves et maîtresses. Apprendre et transmettre l’art (1849-1928), conference papers (Université Bordeaux-Montaigne, centre François-Georges Pariset/ Courbevoie, musée Roybet Fould/Paris, musée national Jean-Jacques Henner et musée Rodin, May 2021), Pessac, Presses universitaires de Bordeaux, 2022.

Lahalle, 2006: Agnès Lahalle, Les Écoles de dessin au xviiie siècle. Entre arts libéraux et arts mécaniques, Rennes, Presses universitaires de Rennes, 2006.

Laks, Sassu Suarez Feri, 2023: Déborah Laks, Natalia Sassu Suarez Feri, Transmission and Gender: Women Artists as Teachers in the 20th Century, Heidelberg, arthistoricum.net, 2023.

Lambert, 2024: Guy Lambert, “La pédagogie de l’atelier dans l’enseignement de l’architecture en France aux xixe et xxe siècles, une approche culturelle et matérielle”, Perspective, no. 1: L’Atelier, 2014, pp. 129-136 [URL: https://doi.org/10.4000/perspective.4412].

Lambert, Thibault, 2011: Guy Lambert, Estelle Thibault (eds), L’Atelier et l’amphithéâtre. Les écoles de l’architecture, entre théorie et pratique, Wavre, Mardaga, 2011.

Laurent, 1987: Jeanne Laurent, À propos de l’École des Beaux-Arts de Paris, Paris, ENSBA, 1987.

Laurent, 1999: Stéphane Laurent, Les Arts appliqués en France. Genèse d’un enseignement, Paris, Éditions du CTHS, 1999.

Lê, 2018: Xuân Son Lê, “L’enseignement de l’architecture en Indochine française (1926-1954): du régionalisme aux normes de l’Ensba de Paris?”, Politiques de la culture, academic blog of the Comité d’histoire du ministère de la Culture sur les politiques, les institutions et les pratiques culturelles, conference papers (Histoire de l’enseignement de l’architecture au xxe siècle, III. Rayonnement des écoles et relations internationales, Nantes, 2017), 2018, pp. 40-44 [DOI: https://doi.org/10.58079/mril].

Léon, 2020: Vera Léon, “On ne naît pas photographe, on le devient. Contribution à une histoire sociale et genrée des formations artistiques et techniques en France (1945-1982)”, PhD diss., Rebecca Rogers, Christian Joschke (supervisors), Université Paris Cité, 2020.

LindiNger, Aicher, Burkhardt, 1988: Herbert LindiNger, Otl Aicher, François Burkhardt (eds), L’École d’Ulm. Textes et manifestes, exh. cat. (Paris, centre Pompidou, 1988) Paris, Centre Georges Pompidou, 1988.

Madoff, 2009: Steven Henry Madoff (ed.), Art School (Propositions for the 21st Century), Boston, MA, The MIT Press, 2009.

Martinon, 2003: Jean-Pierre Martinon, Traces d’architectes: éducations et carrières d’architectes Grand Prix de Rome aux xixe et xxe siècles en France, Paris, Economica, 2003.

Masone, Morselli, Butti de Lima, 2024: Leonardo Masone, Raffaella Morselli, Paulo Butti de Lima (eds), L’Accademia e i manuali del Guercino. Saggio di storie dell’arte, teoria dell’immagine e simbolica politica, Rome, L’Erma di Bretschneider, 2024.

McLean, 2011: Ian McLean, How Aborigines Invented the Idea of Contemporary Art: Writing on Aboriginal Contemporary Art, Sydney, Institute of Modern Art and Power Publication, 2011.

Meijer, Zangheri, 2015: Bert W. Meijer, Luigi Zangheri (eds), Accademia delle arti del disegno. Studi, fonti e interpretazioni di 450 anni di storia, Florence, Olschki, 2015.

Meisel, 2022: Hélène Meisel (ed), L’Art d’apprendre, exh. cat. (Metz, Centre Pompidou-Metz, 5 Feb. – 29 Aug. 2022), Metz, Centre Pompidou-Metz, 2022.

Menger, 2009: Pierre-Michel Menger, Le Travail créateur. S’accomplir dans l’incertain, Paris, Le Seuil, 2009.

Merlin, 1980: Pierre Merlin, L’Université assassinée : Vincennes (1968-1980), Paris, Ramsay, 1980.

Meyer, Pujalte-Fraysse, 2011: Véronique Meyer, Marie-Luce Pujalte-Fraysse (eds), Voyage d’artistes en Italie du Nord (xvie-xixe siècle), Rennes, Presses universitaires de Rennes, 2011.

Michel, 2012: Christian Michel, L’Académie royale de peinture et de sculpture (1648-1793). La naissance de l’École française, Geneva, Droz, 2012.

Minot, 1991: Jacques Minot, Histoire des universités françaises, Paris, Presses universitaires de France, 1991.

Monginot, 2022: Pauline Monginot, Peintres de Tananarive. Palettes malgaches, cadres coloniaux, Paris, Maisonneuve et Larose, 2022.

Montazami, Colnet, Schlicht et al., 2024: Morad Montazami, Madeleine de Colnet, Esther Schlicht et al. (eds), Casablanca Art School: Eine Postkoloniale Avantgarde (1962-1987)/A Postcolonial Avant-Garde (1962-1987), exh. cat. (Frankfurt am Main, Schirn Kunsthalle, 2024), Leipzig, Spector Books, 2024.

Morphy, 1991: Howard Morphy, Ancestral Connections: Art and an Aboriginal System of Knowledge, Chicago, University of Chicago Press, 1991.

Munro, 2015: Jane Munro, Mannequin d’artiste, mannequin fétiche, exh. cat. (Cambridge, Fitzwilliam Museum, 2014-2015/Paris, musée Bourdelle, 2015), Paris, Paris Musées, 2015.

Nerlich, Bonnet, 2013: France Nerlich, Alain Bonnet (eds), Apprendre à peindre. Les ateliers privés à Paris (1780-1863), conference papers (Tours, Université François-Rabelais, 2011), Tours, Presses universitaires François-Rabelais, 2013.

Nerlich, Vratskidou, 2022: France Nerlich, Eleonora Vratskidou (eds), Disrupting Schools: Transnational Art Education in the 19th Century, Turnhout, Brepols, 2022.

O’Neill, Wilson, 2010: Paul O’Neill, Mick Wilson (eds), Curating and the Educational Turn, Amsterdam/London, De Apple Arts Centre/Open Editions, 2010.

Orlando, 2024: Sophie Orlando, La Part affective, Paris, Paraguay, 2024.

Ortwin, Lehmann, Herbert, 1933: Rave Ortwin, Paul Lehmann, Ernst Herbert, “Akademie”, in Otto Schmitt (ed), Reallexikon zur Deutschen Kunstgeschichte, t. I, Stuttgart, 1933, pp. 243-262.

Perrin Khelissa, Roffidal, 2024: Anne Perrin Khelissa, Émilie Roffidal (eds), Réseaux et académies d’art au siècle des Lumières en province, Paris/Heidelberg, Deutsches Forum für Kunstgeschichte/arthistoricum.net, 2024.

Perry, Cunningham, 1998: Gillian Perry, Colin Cunningham (eds), Academies, Museums and Canons of Art, New Haven, CT, Yale University Press, 1999.

Pevsner, (1940) 1973: Nikolaus Pevsner, Academies of Art, Past and Present, New York, Da Capo Press 1973.

Potter, 2013: Matthew Charles Potter (ed), The Concept of the “Master” in Art Education in Britain and Ireland (1770 to the Present), Farnham/Burlington, Ashgate, 2013.

Poulot, Pire, Bonnet, 2010: Dominique Poulot, Jean-Miguel Pire, Alain Bonnet (eds), L’Éducation artistique en France. Du modèle académique et scolaire aux pratiques actuelles (xviiie-xixe siècles), Rennes, Presses universitaires de Rennes, 2010.

Provansal, 2023: Mathilde Provansal, Artistes mais femmes. Une enquête sociologique dans l’art contemporain, Paris, ENS éditions, 2023.

Rancière, (1987) 1991: Jacques Rancière, The Ignorant School Master. Five Lessons in Intellectual Emancipation (1987), trans. Kristin Ross, Stanford, CA, Stanford University Press, 1991 [orig. ed.: Le Maître ignorant. Cinq leçons sur l’émancipation intellectuelle, Paris, Fayard, 1987].

Rivero, 2016: Olivia Rivero, “Master and Apprentice: Evidence for Learning in Palaeolithic Portable Art”, Journal of Archaeological Science, no. 75, 2016, pp. 89-100.

Robertson, 2009-2010: Clare Robertson, “Federico Zuccari’s Accademia del Disegno and the Carracci Accademia degli Incamminati: Drawing in Theory and in Practice”, Römisches Jahrbuch der Bibliotheca Hertziana, no. 39, 2009-2010 (2012), pp. 187-223.

Roux, 1999: Claude Roux, L’Enseignement de l’art. La formation d’une discipline, Nîmes, Jacqueline Chambon, 1999.

Sanyal, 2013: Sunanda K. Sanyal, “‘Being Modern’: Identity Debates and Makerere’a Art School in the 1960s”, in Gitti Salami, Monica Blackmun Visonà (eds), A Companion to Modern African Art, Chichester, UK, John Wiley and Sons, 2013, pp. 255-275.

Segré, 1993: Monique Segré, L’Art comme institution. L’école des Beaux-arts (xixe-xxe siècles), Cachan, Éditions de l’ENS Cachan, 1993.

Sennett, 2008): Richard Sennett, The Craftsman, New Heaven, Yale University Press, 2008.

Sève, Troche, 2021: Bernard Sève, Sarah Troche (eds), Methodos. Savoirs et textes, no. 21: L’exercice en art, 2021 [DOI: https://doi.org/10.4000/methodos.7592].

Spitz, Müller, 2014: René Spitz, Jens Müller (eds), HfG Ulm, Kurze Geschichte der Hochschule für Gestaltung/Concise History of the Ulm School of Design, Ennetbaden, CH, Lars Müller Publishers, 2014.

Trépanier, Creighton-Kelly, 2011: France Trépanier, Chris Creighton-Kelly, Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review, Ottawa, Canada Council for the Arts, 2011, pp. 29-35, 43-51 [URL: https://publications.gc.ca/collections/collection_2013/canadacouncil/K23-54-2011-eng.pdf].

Vandenbunder, 2014: Jérémie Vandenbunder, “La Pédagogie de la création. Une sociologie de l’enseignement artistique”, PhD diss., Charles Gadéa (supervisor), Université Versailles-Saint-Quentin en Yvelines, 2014.

Vandenbunder, 2015: Jérémie Vandenbunder, “Peut-on enseigner l’art ? Les écoles supérieures d’art, entre forme scolaire et liberté artistique”, Revue française de pédagogie, no. 192, July-Aug.-Sept. 2015, pp. 121-134 [DOI: https://doi.org/10.4000/rfp.4849].

Verger, 2011: Émilie Verger, “Les Beaux-arts, Une fabrique d’artistes ? Histoire institutionnelle et sociale de l’enseignement des arts plastiques à l’École nationale supérieure des beaux-arts de Paris de 1960 à 2000”, PhD diss., Philippe Dagen (supervisor), Université Paris 1 – Panthéon-Sorbonne, Paris, 2011.

Yeager-Crasselt, 2015: Lara Yeager-Crasselt, “Pride and Ambition in Seventeenth-Century Brussels. The Drawing Academy of Michael Sweerts”, in Hannelore Magnus, Katlijne van der Stighelen (eds), Facts and Feelings: Retracing Emotions of Artists (1600-1800), Turnhout, Brepols, 2015, pp. 153-170.

Yu-Ta, 2017: Lin Yu-Ta, “Représentations des aborigènes de Taïwan au musée. Entre art et ethnographie dans un contexte postcolonial”, PhD diss., Catherine Bertho Lavenir (supervisor), Université Paris 3 – Sorbonne Nouvelle, 2017.

Haut de page

Document annexe

Haut de page
Sommaire - Document précédent
Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search