L’Art et science de rhetoricque metriffiée, paru en 1539 à Toulouse, est l’œuvre de
Gratien du Pont. L’auteur y théorise la pratique des participants aux Jeux floraux
de Toulouse, un concours poétique organisé chaque année par le Collège des art et
science de Rhétorique. Il s’agit d’un ouvrage normatif, probablement le dernier
exemple du genre, qui ouvre simultanément la voie à certaines des interrogations
qui seront celles des arts poétiques de la seconde moitié du (…)
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1.5 Publications
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Gratien du Pont, Art et science de rhetoricque metriffiée
23 septembre 2012, par Blandine Perona -
La Vocation lyrique. La poétique du recueil lyrique en France à la Renaissance et le modèle des ’Carmina’ d’Horace.
28 February 2010, by Guillaume BerthonHorace offers in his Carmina a model of transposition of poetry into a lyrical collection which the young French Renaissance poets, seeking both origins and novelty, adopt and adapt in order to evoke, in turn, the lost of origin of lyricism. This resurrection is the object of this study.
Paris : Classiques Garnier, coll. "Etudes et essais sur la Renaissance", 2010, 263 pages, 39.00 € TTC .
EAN9782812401046 (…) -
Jacques Androuet du Cerceau. « Un des plus grands architectes qui se soit jamais trouvé en France. »
27 February 2010, by Guillaume BerthonDu Cerceau’s graphic work – the most extensive and diverse oeuvre of the 16th century – was examined in its entirety only once before, in 1887. Since then, studies have focused only upon certain aspects of it, but no one has previously examined the full body of work, consisting of 1,700 engravings and 1,200 designs, left to us by the artist. Hence the urgent need for a new monograph which could only be written by a group of dedicated scholars. The first requirement was the compilation (…)
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Jacques Androuet du Cerceau. Les dessins des plus excellents bâtiments de France.
27 February 2010, by Guillaume BerthonShortly before or in the year 1559, and with the support of King Henry II, Jacques Androuet du Cerceau agreed to design “the most beautiful houses of France.†In doing so he created a master work, published here in its entirety, and in colour, for the very first time.
The one hundred and sixteen designs which he has drawn on vellum – better than the two volumes of prints dedicated to Catherine de Medici, who had backed his enterprise from the start – are unquestionably the work of (…)