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Journal articles on the topic 'Bernard Palissy'

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Published: 25 May 2024

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1

Céard, Jean. "Relire Bernard Palissy." Revue de l'Art 78, no. 1 (1987): 77–83. http://dx.doi.org/10.3406/rvart.1987.347672.

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2

Céard, Jean. "Relire Bernard Palissy." Revue de l'art N° 78, no. 4 (April 1, 1987): 77–83. http://dx.doi.org/10.3917/rda.078.0077.

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3

Cameron, Keith. "L'originalité de Bernard Palissy." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 133–43. http://dx.doi.org/10.3406/albin.1992.1305.

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4

Céard, Jean. "Bernard Palissy et l'alchimie." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 155–66. http://dx.doi.org/10.3406/albin.1992.1307.

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5

Sylvos, Françoise. "Balzac et Bernard Palissy." L'Année balzacienne 12, no. 1 (2011): 175. http://dx.doi.org/10.3917/balz.012.0175.

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6

Cecchetti, Dario. "Bernard Palissy, Œuvres complètes." Studi Francesi, no. 164 (LV | II) (September 1, 2011): 397. http://dx.doi.org/10.4000/studifrancesi.5579.

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7

Plaziat, Jean-Claude. "Bernard Palissy (1510–1590) and the French geologists: a critical reappraisal concerning the founding naturalist and his rustic ceramics." Bulletin de la Société Géologique de France 182, no. 3 (May 1, 2011): 255–67. http://dx.doi.org/10.2113/gssgfbull.182.3.255.

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Abstract Bernard Palissy benefited from two centuries (mid-18th - mid-20th c.) of a striking reputation – only partly justified – as a precursor of the European geologists and as a prolific producer of a new ceramic ware. During the last decades that appreciation was revealed to be overrated. His scientific and technological fame were respectively founded on misreadings by 18th c. rediscoverers (Jussieu, Réaumur, Fontenelle) and on erroneous attributions to a so-called “rustic Palissy’s ware style” of most of the pieces of China with animals in full relief referred to Palissy. The attributions to the Palissy’s workshop of pieces including fossil shell casts, by 19th c. romantic ceramic collectors, was confirmed by Alexandre Brongniart [1854], the pioneer decipherer, along with G. Cuvier, of the geology of the Paris basin, who identified Lutetian fossil shells. Munier-Chalmas [in Dupuy, 1894], noting that Palissy did not accept that inland fossils could belong to any marine assemblages, did not understand that this misinterpretation contradicts the current fame of Palissy as the discoverer of marine transgressions. Modern geologists, following F. Ellenberger [1988], the first to point out this contradiction, undertook the rehabilitation of the true geological message of Palissy as a pluridisciplinary precursor in nature processes elucidation, at least equal to Leonardo da Vinci in accuracy. This contribution seeks also to solve the last major point of misunderstanding, which resulted in the mingling of the rare true rustic wares designed and produced in Palissy’s workshop at Saintes (according to the shells and vertebrates casts), with the more famous and numerous chinas, different in style, especially those with Tertiary fossil shells cast from nature, probably conceived more than a century after the rustiques figulines of Palissy, in a workshop set up in the northernmost Ile de France and not copied from them. The highest established merits of Palissy are acknowledged, that finally place him ahead of the world geologists.

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8

Dufay, Bruno, Yves Kisch, Pierre-Jean Trombetta, Dominique Poulain, and Yves Roumégoux. "L'atelier parisien de Bernard Palissy." Revue de l'Art 78, no. 1 (1987): 33–60. http://dx.doi.org/10.3406/rvart.1987.347668.

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9

Dufay, Bruno, Yves de Kisch, Dominique Poulain, Yves Roumégoux, and Pierre-Jean Trombetta. "L’atelier parisien de Bernard Palissy." Revue de l'art N° 78, no. 4 (April 1, 1987): 33–57. http://dx.doi.org/10.3917/rda.078.0033.

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10

Clémens, Jacques. "Le troglodytisme imaginaire de Bernard Palissy." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 105–17. http://dx.doi.org/10.3406/albin.1992.1302.

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11

Sicard, Monique. "De Balthazar Claës à Bernard Palissy." Communications 78, no. 1 (2005): 79–97. http://dx.doi.org/10.3406/comm.2005.2275.

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12

Rèpaci-Courtois, Gabriella. "Unicité et multiplicité chez Bernard Palissy." Ligeia N°17-18, no. 1 (1995): 135. http://dx.doi.org/10.3917/lige.017.0135.

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13

Lecoq, Anne-Marie. "Morts et résurrections de Bernard Palissy." Revue de l'Art 78, no. 1 (1987): 26–32. http://dx.doi.org/10.3406/rvart.1987.347667.

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14

Lecoq, Anne-Marie. "Morts et résurrections de Bernard Palissy." Revue de l'art N° 78, no. 4 (April 1, 1987): 26–32. http://dx.doi.org/10.3917/rda.078.0026.

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15

Cortade, Ludovic. "Bernard Palissy et la théorie du cinema." French Review 90, no. 3 (2017): 115–24. http://dx.doi.org/10.1353/tfr.2017.0284.

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16

Schrenck, Gilbert, and Eric Surget. "Bernard Palissy dans l'œuvre d' Agrippa d'Aubigné." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 17–23. http://dx.doi.org/10.3406/albin.1992.1295.

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17

Legrand, Marie-Dominique. "Notes sur le lexique de Bernard Palissy." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 145–53. http://dx.doi.org/10.3406/albin.1992.1306.

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18

Perrin, I., and B. Velde. "Ceramic's Technics and Technology of Bernard Palissy." Key Engineering Materials 132-136 (April 1997): 1460–63. http://dx.doi.org/10.4028/www.scientific.net/kem.132-136.1460.

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19

Amico, Leonard N. "Les céramiques rustiques authentiques de Bernard Palissy." Revue de l'Art 78, no. 1 (1987): 61–69. http://dx.doi.org/10.3406/rvart.1987.347670.

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20

Amico, Leonard N. "Les céramiques rustiques authentiques de Bernard Palissy." Revue de l'art N° 78, no. 4 (April 1, 1987): 61–69. http://dx.doi.org/10.3917/rda.078.0061.

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21

Gendron, Christian. "Les imitateurs de Bernard Palissy au XIXe siècle." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 201–6. http://dx.doi.org/10.3406/albin.1992.1312.

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22

Seguin, Marc. "Mentalités et délinquances saintongeaises au temps de Bernard Palissy." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 39–56. http://dx.doi.org/10.3406/albin.1992.1297.

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23

Andrews, Noam. "The space of knowledge: Artisanal epistemology and Bernard Palissy." Res: Anthropology and aesthetics 65-66 (March 2015): 275–88. http://dx.doi.org/10.1086/691039.

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24

Trocmé, Étienne. "Bernard Palissy, témoin de l'enthousiasme moral des premiers Réformés français." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 57–62. http://dx.doi.org/10.3406/albin.1992.1298.

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25

Quenot, Yvette. "Du jardin de Bernard Palissy au jardin d'Olivier de Serres." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 93–103. http://dx.doi.org/10.3406/albin.1992.1301.

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26

Rivet, Bernard. "Réflexions sur quelques aspects économiques de l'œuvre de Bernard Palissy." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 167–80. http://dx.doi.org/10.3406/albin.1992.1308.

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27

Poulain, Dominique. "Bernard Palissy : Sources du répertoire décoratif de l'atelier des Tuileries." Albineana, Cahiers d'Aubigné 4, no. 1 (1992): 187–200. http://dx.doi.org/10.3406/albin.1992.1311.

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28

KENNY, N. F. "Review. Recepte veritable. Edition critique par Keith Cameron. Palissy, Bernard." French Studies 44, no. 2 (April 1, 1990): 203. http://dx.doi.org/10.1093/fs/44.2.203.

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29

Boudgourd, Mariette. "L’oeuvre des Palissystes parisiens, imiter la nature ou se souvenir de l’histoire?" Sèvres. Revue de la Société des Amis du musée national de Céramique 32, no. 1 (2023): 50–62. http://dx.doi.org/10.3406/sevre.2023.1631.

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At the end of the 18th century, amateurs and collectors rediscovered the work of Bernard Palissy, geologist, chemist and potter to the king, who marked the history of the French Renaissance. In 1843, Charles-Jean Avisseau from Touraine rediscovered the secrets of the master potter, followed in Paris from 1851 by Barbizet, Pull, Sergent and Maurice. This luxury and fantasy pottery, between naturalism and historicism, participates in a renewal of artistic ceramics of Parisian factories.

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30

Gerbier, Aurélie. "Du modèle au tirage : le moulage dans l’œuvre de Bernard Palissy." Technè, no. 47 (June 1, 2019): 30–32. http://dx.doi.org/10.4000/techne.1448.

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31

Stoll, M. ""Sagacious" Bernard Palissy: Pinchot, Marsh, and the Connecticut Origins of American Conservation." Environmental History 16, no. 1 (January 1, 2011): 4–37. http://dx.doi.org/10.1093/envhis/emq141.

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32

Godet, Marie, Gauthier Roisine, Emmie Beauvoit, Daniel Caurant, Odile Majérus, Nicolas Menguy, Olivier Dargaud, Anne Bouquillon, and Laurent Cormier. "Multi-Scale Investigation of Body-Glaze Interface in Ancient Ceramics." Heritage 2, no. 3 (August 28, 2019): 2480–94. http://dx.doi.org/10.3390/heritage2030152.

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Bernard Palissy is a French Renaissance ceramist renowned for his masterpieces called Rustiques Figulines on which dozens of glazes of different chemistries (and thus firing behaviors) coexist harmoniously. This study aims at gathering information on the master procedure -never revealed- by investigating the body-glaze interface region (focusing on iron-colored honey transparent glaze-white body system). Optical and electron microscopies including transmission electron microscopy (TEM) are used to characterize the micro and nanostructure of both archaeological and replicas interfaces elaborated in controlled conditions (firing time, cooling rate, addition of Al in the glazing mixture). Both types of interfaces are comparable: a modified paste area from which are growing a relatively continuous layer of interfacial crystals identified as lead feldspars (K,Ca)PbAl2Si2O8 micro-sized single-crystals incorporating mullite 3Al2O3.2SiO2 nano-sized single-crystals. Modification of the firing parameters and removal of Al from the glazing mixture change essentially the interface extension and the micro-crystals morphology. By comparing archaeological and replica interfaces and considering previous studies, we can now state that Palissy was very likely adding clay (Al) in his frit. Moreover, he was probably working with a firing time of more than 1 h followed by slow cooling in the oven.

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33

Bouquillon, A., J. Castaing, F. Barbe, S. R. Paine, B. Christman, T. Crépin-Leblond, and A. H. Heuer. "Lead-Glazed Rustiques Figulines (Rustic Ceramics) of Bernard Palissy (1510-90) and his Followers." Archaeometry 59, no. 1 (June 17, 2016): 69–83. http://dx.doi.org/10.1111/arcm.12247.

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34

Legrand, Marie-Dominique. "Le lexique saintongeais et sa fonction dans l'œuvre de Bernard Palissy (vers 1510 - vers 1589)." Albineana, Cahiers d'Aubigné 6, no. 1 (1995): 55–67. http://dx.doi.org/10.3406/albin.1995.1338.

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35

Kayser, Petra. "The Intellectual and the Artisan: Wenzel Jamnitzer and Bernard Palissy Uncover the Secrets of Nature." Australian and New Zealand Journal of Art 7, no. 2 (January 2006): 45–61. http://dx.doi.org/10.1080/14434318.2006.11432774.

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36

Yvernault, Martine. "Ferdinand, Juliette. Bernard Palissy. Artisan des réformes entre art, science et foi , Berlin, Boston, De Gruyter, 2019, 412 p. + xviii." Réforme, Humanisme, Renaissance N° 92, no. 1 (May 19, 2021): V. http://dx.doi.org/10.3917/rhren.092.0263e.

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37

Lees-Jeffries, Hester. "An Elizabethan translation of Bernard Palissy's ‘On Waters and Fountains’." Studies in the History of Gardens & Designed Landscapes 30, no. 1 (February 19, 2010): 1–56. http://dx.doi.org/10.1080/14601170902829691.

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38

Shell, Hanna Rose. "Casting Life, Recasting Experience: Bernard Palissy's Occupation between Maker and Nature." Configurations 12, no. 1 (2004): 1–40. http://dx.doi.org/10.1353/con.2005.0005.

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39

Dushenko, Konstantin V. "“A Quarter of an Hour before his Death, He Was Still Alive”: The Literary Character Image of La Palice and the Phenomenon of Nizy Style." Studia Litterarum 6, no. 3 (2021): 72–95. http://dx.doi.org/10.22455/2500-4247-2021-6-3-72-95.

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La Palis is a literary character that appeared in anonymous couplets The Death of La Palis published in the early 18th century. The image of La Palis in songs is ambiguous: he is both a naive simpleton and a parodic counterpart of the panegyric image of Marshal Jacques de La Palice (1470–1525). The irony of these early verses about La Palis is usually explained by the simplicity of the soldiers who allegedly composed them in 1525 or by the further distortion of the original text. In reality, this irony bears the imprint of the 17th century burlesque poetry. In 1715, the literary image of La Palis was canonized by Bernard La Monnoy, the author of the term nizy style. The nizy style, also called the Lapalissade, is a special kind of tautology that, as Clement Rosset aptly put it, “for a moment causes a hallucination of difference.” In the 19th century, the typically Lapalissian formula “if they did not die, then they are still alive” is recorded in the tales of various peoples of Europe; the relationship between these national formulas remains unclear. The article also examines the mastering the nizy style by O. Goldsmith and Russian translators from the 18th century to the present day.

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40

"Bernard Palissy (1510-1590)." Revue de l'art N° 78, no. 4 (April 1, 1987): 58–60. http://dx.doi.org/10.3917/rda.078.0058.

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41

"Bernard Palissy: in search of earthly paradise." Choice Reviews Online 34, no. 06 (February 1, 1997): 34–3129. http://dx.doi.org/10.5860/choice.34-3129.

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42

Deming, David. "Born to Trouble: Bernard Palissy and the Hydrologic Cycle." Ground Water, September 14, 2005, 050914063638001. http://dx.doi.org/10.1111/j.1745-6584.2005.00119.x.

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43

Mason, Peter. "Bernard Palissy: artisan des réformes entre art, science et foi." Journal of the History of Collections, December 8, 2020. http://dx.doi.org/10.1093/jhc/fhaa044.

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44

Quiviger, François. "Panpsychism represented. The animate world of Bernard Palissy, 1510–1590." Intellectual History Review, December 11, 2023, 1–15. http://dx.doi.org/10.1080/17496977.2023.2285264.

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45

Paul, Céline. "Les « rustiques figulines » au Musée national Adrien Dubouché : Bernard Palissy et ses émules dans les collections du musée." Arts et sciences 5, Special (2021). http://dx.doi.org/10.21494/iste.op.2021.0703.

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46

Roisine, Gauthier, Natan Capobianco, Daniel Caurant, Gilles Wallez, Anne Bouquillon, Odile Majérus, Laurent Cormier, Solène Gilette, and Aurélie Gerbier. "The art of Bernard Palissy (1510–1590): influence of firing conditions on the microstructure of iron-coloured high-lead glazes." Applied Physics A 123, no. 8 (July 5, 2017). http://dx.doi.org/10.1007/s00339-017-1089-9.

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