Academic literature on the topic 'Musée de l'Art Culinaire'
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Journal articles on the topic "Musée de l'Art Culinaire"
DREHER, J. "Un regard sur l'art culinaire des mamelouks." MIDEO 24 (January 1, 2000): 55–82. http://dx.doi.org/10.2143/mid.24.0.565632.
Full textTsitsa, Mania. "Le français de l'art culinaire un projet dictionnairique." Éla. Études de linguistique appliquée 135, no. 3 (2004): 299. http://dx.doi.org/10.3917/ela.135.0299.
Full textCurnier, Jean-Paul. "L'art, la morale, le musée." Lignes 29, no. 3 (1996): 189. http://dx.doi.org/10.3917/lignes0.029.0189.
Full textGilbert, P. "Le musée et l'art d'enseigner." Museum International (Edition Francaise) 20, no. 4 (April 24, 2009): 291–99. http://dx.doi.org/10.1111/j.1755-5825.1967.tb01770.x.
Full textCsergo, Julia. "L'art culinaire ou l'insaisissable beauté d'un art qui se dérobe." Sociétés & Représentations 34, no. 2 (2012): 13. http://dx.doi.org/10.3917/sr.034.0013.
Full textJuvin, Hervé. "L'art, le musée et le sacré." Le Débat 147, no. 5 (2007): 154. http://dx.doi.org/10.3917/deba.147.0154.
Full textRasse, Paul. "Le musée protagoniste de l'art contemporain." Hermès 61, no. 3 (2011): 76. http://dx.doi.org/10.3917/herm.061.0076.
Full textBernier, Christine. "L'art contemporain, Internet et le musée." Hermès 61, no. 3 (2011): 84. http://dx.doi.org/10.3917/herm.061.0084.
Full textGermain, Marie-Odile. "Barrès: le musée ou l'art déraciné?" Revue d'histoire littéraire de la France o 95, no. 1 (January 1, 1995): 36–44. http://dx.doi.org/10.3917/rhlf.g1995.95n1.0036.
Full textRowley, Anthony. "Vieux Romain et jeune cycliste. L'art culinaire en Belgique et en Helvétie." Commentaire Numéro90, no. 2 (2000): 427. http://dx.doi.org/10.3917/comm.090.0427.
Full textDissertations / Theses on the topic "Musée de l'Art Culinaire"
LAMBERT, VOLK FANNY. "Des fleurs pour la gastronomie : aux limites de l'art culinaire." Strasbourg 1, 1999. http://www.theses.fr/1999STR15118.
Full textZancanaro, Frédéric. "Le processus de production des œuvres dans l'art culinaire contemporain français." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20025.
Full textThe level of technical and aesthetic excellence reached by learned cuisine in the second half of the 17th century and the capacity to create novel works and or reinterpret some have propelled domestic and artisanal cooking into the world of artistic professional practice. We have chosen to address the problem of work construction in French contemporary culinary art from the production process viewpoint. The analytical and expert reading of the food offer as evidenced in menus of three-starred restaurants and in chefs’ interviews clearly underlines that the production process differs between chefs since it depends on the professional socialization but also on the chefs’ life history and on their interactions with the world of culinary art in the gastronomic arena. The way chefs aggregate all these elements is the hallmark of their artistic production (interpreter vs creator – national dimension vs terroir-focused). The culinary type to which they belong (conservative/avant-garde) seems to be closely linked to the type of aesthetic signature which differentiates them. The theoretical contribution of this research work may help define some social space that could be referred to as « gastronomic social space ». Such an approach could help outline the contours of the chefs’ signature that might prove quite valuable to the researchers who intend to study culinary art, to the professionals who try to position themselves with regard to « culinary and scenic design », to the reviewers who need an analytical framework and to the trainers who plan to educate the general public. In this respect, this research work can be considered as an asset to incorporate culinary art to the domain of food sociology
Alary, Luc. "De l'art vivant à l'art moderne : genèse du Musée national d'Art moderne." Paris 1, 1997. http://www.theses.fr/1997PA010526.
Full textThis doctoral thesis deals with the process of formation of the "Musée national d'Art moderne" from the creation of the "galerie royale destinée aux artistes vivants" in 1818 until the opening of the "Musée national d'Art moderne" in 1947. The history of the institution, through its successive definitions, brings into light the birth of a museological consciousness for modern art, closely connected with political change, architectural and technical improvements, debates about classifying methods. As a whole, this thesis could be an alternative history of modern art as a part of national patrimony
Arous, Jamila. "L'esthétique du caché : à propos de l'art brut." Paris 1, 1987. http://www.theses.fr/1987PA010551.
Full textPringuet, Virginie. "Vers un atlas de l'art dans l'espace public : la modélisation d'un musée réticulaire." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20006/document.
Full textPublic art, site specific, in situ art, Land art or museum without walls, various polysemic terms are used to designate the field of art in public space, much commentated but finally little documented. This thesis in Aesthetics and Digital humanities aims to account to the modeling process of a “reticular museum” for public art. The research project consists of two parts: a digital platform - the Atlasmuseum wiki site and mobile application - The application and the thesis itself. A review of several, national and international initiatives of public art maps, pioneering projects of digital inventories and online institutional collections has been conducted from a central question: how to design a museum structure for artworks located precisely outside the museum traditional perimeter? And consequently: how to model a contributory inventory tool in the context of cultural linked open data and the Semantic Web? Taking account of the immeasurable and heterogeneous corpus of public artworks, and through close and distant readings of a selection of contemporary public artworks (“1% for art in architecture” and public art commissions in France between 1951 and 2016), the thesis is built around the concept of a “reticular museum” connecting through their records hundreds of art pieces, artists and sites. Dedicated to public art inventory, through specifically designed notices, maps, atlases and visualizations, the Atlasmuseum platform aims to reunite on a contributory basis, curators, artists, computer scientists, art historians, librarians, art lovers, teachers and students. Atlasmuseum is based on the MediaWiki software enriched with the Semantic MediaWiki extension. It is a curatorial as well as a museological and museographical project. At the intersection of critical cartography, critical museology and anthropology of art, the thesis is structured in four parts. The first is devoted to the map as mediation between artworks and their sites. The map is examined from different points of view in order to sketch the outlines of a potential inventory tool for public art. The second part of the thesis aims to extend the initial assumptions by working a double shift of scale, from the map to the atlas and symmetrically from the inventory to the museum. Follows the “central” part of the thesis, which is a “printed” version of the Atlasmuseum platform in both formats (Web and mobile) and its four dimensions (exploration, contribution, research and semantization). In the fourth part, a close and distant reading of a specific collection of artworks (art pieces created for the tramway networks in France) is conducted through data visualizations. The hypothesis is that an ontological data visualization (using the CIDOC CRM model) can offer a new form of perception and apprehension of these artworks within their environment and context. Thus the thesis operates successive and retroactive landslides, from theory to practice, from artistic curating to data curation, from the map to the inventory, from the atlas to the museum and from the diagram to the network
Bernier, Christine. "L'art au musée, de la représentation des oeuvres à la représentation de l'institution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ62086.pdf.
Full textSavard, Guillaume. "Du monastère au musée : statuts et fonctions de l'oeuvre peinte à l'hôpital général de Québec (1693-1960)." Thesis, Université Laval, 2005. http://www.theses.ulaval.ca/2005/23149/23149_1.pdf.
Full textBiass-Fabiani, Sophie. "Ecrire l'histoire de l'art de la marge." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG1161/document.
Full textThis dissertation based on works aims to reconstruct the cohesiveness of a research trajectory both characterized by: 1) the attempt to include art history in an interdisciplinary frame that gives a significant weight to its social and communicative dimension without being reductionist; 2) the will to question afresh the relationships between center and artistic periphery through published texts during a career devoted to curating and exhibiting. This is why the original text starts with a reassessment of Enrico Castelnuovo and Carlo Ginzburg famous article based on the research logic that different published texts reveal. Then the renovated analytical grid is applied to an object, Provence. This region is both an aesthetical object and a site of production. Its paradox leads it to be a place of high symbolic value as well as a periphery, sometimes stigmatized. The third chapter is based on a comparison between the artists that have been exhibited during the curator’s trajectory. By doing that, the notions of art, institution and market are revisited with a special attention given to the functions of exhibition and art critique in the process of artistic recognition. Last the relative importance of photo and video art in the curator’s trajectory leads to reassess the notion of middle-brow art (art moyen) developed by Pierre Bourdieu. One can thus identify the dynamics specific to those domains that aims to end the situation of relegation that has for long trapped them
Vander, Gucht Daniel. "Le musée et l'art contemporain: contribution à la sociologie de la médiation artistique à l'ère post-moderne." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212669.
Full textLong-Tarasco, Véronique. "Mécènes des deux mondes : les collectionneurs-donateurs du musée du Louvre et de l'Art Institute Chicago, 1879-1940." Paris 1, 2003. http://www.theses.fr/2003PA010585.
Full textBooks on the topic "Musée de l'Art Culinaire"
Burkina Faso. Direction du patrimoine culturel. L'art culinaire au Burkina. Burkina Faso]: Direction du patrimoine culturel, 2003.
Find full textNicole, Allard, and Brousseau Raymond 1938-, eds. L'art inuit au Musée. Vieux-Québec: Musée d'art inuit Brousseau, 2002.
Find full textEscoffier, Georges Auguste. Souvenirs inédits: 75 ans au service de l'art culinaire. Marseille: J. Laffitte, 1985.
Find full textSabatini, Liliane. Le Musée de l'art wallon, Liège. [Bruxelles]: Crédit Communal, 1988.
Find full textGucht, Daniel vander. L'art contemporain au miroir du musée. Bruxelles: Lettre volée, 1998.
Find full textPhang, Loo Hui. L'art du chevalement. Paris: Futuropolis Louvres-Lens, 2013.
Find full textThierry, Zéphir, ed. L'art khmer dans les collections du Musée Guimet. Paris: Réunion des musées nationaux, 2008.
Find full textBérard, Odile. Regard sur l'art étrusque: 1991-1992. Le Cap d'Agde: Musée de l'Ephèbe, 1991.
Find full textMeynet, Denise. L'art colon. Lyon: Fage, 2013.
Find full textRubens, Peter Paul, Sir, 1577-1640., Varshavskai︠a︡ Marii︠a︡, Egorova K. S, Gosudarstvennyĭ Ėrmitazh (Russia), Gosudarstvennyĭ muzeĭ izobrazitelʹnykh iskusstv imeni A.S. Pushkina., and Kyïvsʹkyĭ muzeĭ zakhidnoho ta skhidnoho mystet︠s︡tva., eds. Rubens: Musée de l'Ermitage, Léningrad, Musée des Beaux-Arts Pouchkine, Moscou, Musée de l'Art Occidental et Oriental, Kiev. Paris: Cercle d'art, 1989.
Find full textBook chapters on the topic "Musée de l'Art Culinaire"
Le Maho, Jacques. "Les chapiteaux de Saint-Samson-de-la Roque (Eure) au musée d’Evreux." In Ex quadris lapidibus. La pierre et sa mise en oeuvre dans l'art médiéval, 289–300. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sta-eb.1.100207.
Full textRispal, Adeline. "Les seuils de l'espace de l'art." In D'un seuil à l'autre, 221–35. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.775.
Full textJeong, Seon-Hye. "13. Kut : à l’occasion des kut de la chamane Kim Keum-Hwa au musée du Quai-Branly en octobre 2010." In Penser par l'art, 141–53. Hermann, 2022. http://dx.doi.org/10.3917/herm.vlado.2022.01.0141.
Full textLandry, Pierre B. "Entre les Animaux Naturalisyés et L'Home D'Ici: le Musée du Québec." In Patrimoine et Histoire de L'Art au Québec: Enjeux et Perspectives, 111–26. Les Presses de l’Université de Laval, 2011. http://dx.doi.org/10.1515/9782763796369-009.
Full textLebovics, Herman. "34. Le Musée du quai Branly. Politique de l'art de la postcolonialité." In Cahiers libres, 443–54. La Découverte, 2010. http://dx.doi.org/10.3917/dec.bance.2010.01.0443.
Full textFaupin, Savine, and Claudine Tomczak. "L'art brut dans un musée d'art moderne et d'art contemporain : une ouverture à l'autre." In Art et handicap, 21. ERES, 2012. http://dx.doi.org/10.3917/eres.scell.2012.01.0021.
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