Tesi sul tema "Musées – Collectionneurs et collections – France"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Musées – Collectionneurs et collections – France".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
Trébosc, Delphine. "Confronter l'art : les collections de raretés de la Renaissance française". Paris 1, 2004. http://www.theses.fr/2004PA010573.
Testo completoCheishvili, Ana. "Collectionneurs et collections d'objets caucasiens dans les musées français : histoire et apports des voyages scientifiques au Caucase. (XIXè - début XXè s.)". Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0176.
Testo completoThis thesis focuses on the analysis of French scientific missions in the Caucasus region and the collections brought back to France following these expeditions. The study covers the period from the mid-19th century to the early 20th century, before the major political changes of the 1910s-1920s. The primary focus is on the scientific missions mandated by the Ministry of Public Instruction, without neglecting collections from non-scientific journeys or antiquarians. This research highlights the interest of the French scientific community in the Caucasus in the 19th century, as well as the motivations of the researchers who went there and the work they conducted in the field. Another priority of this study was to examine the archaeological, ethnographic, and photographic collections held in various museums and archives in France. To do this, an inventory of a database of Caucasian collections and the collection of biographical information on French researchers who contributed to these missions was necessary. The contribution of these collections to the reflection on cultural transfers between the Caucasus and France is also examined. The ultimate goal was the identification and study of these collections for their future integration into museography, highlighting the names of researchers and photographers whose journeys in the Caucasus were previously unknown
Meyer, Anne-Doris. "Le "musée personnel" de la collection privée au Musée public : parcours de l'objet d'art en France au XIXème siècle". Strasbourg 2, 2001. http://www.theses.fr/2001STR20001.
Testo completoFerey, Vanessa. "La collection ethnographique du cabinet d’Histoire naturelle du Muséum national de Versailles 1767 – 2007 : trajectoire et interprétations des patrimoines de l’Amérique du Nord". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA083.
Testo completoThe museological relations developed between France and North America have been explored by researchers in museology but these have hardly exploited the wealth of information contained in the French collections of North American objects. The history of the making of the Fayolle Collection, which gave birth to the Cabinet of Sérent at Versailles has been studied over a period starting with New-France and going as far as our present days, in order to gather material that could be of help to future research by art historians and French curators. The private origin of this collection dating 1767 has been explored at length to favour a more objective writing of the history of the museums in France, among which that of the short-lived Versailles National Museum. This collection has proved to be a case study of the development and culture of French museology in contact with a North American material culture, exceptionally preserved in the space of French museums. Its collecting practices have been approached not only from the point of view of a French institutional history but also considering it as a North American museographical heritage. An actual history of the places, but also a descriptive work of the actors of this heritage has been written using archives and documents either rediscovered or mostly unpublished. The major role played by individual and social interactions within museum environments in the interpretation of French collecting in American territories has been reaffirmed. The analysis going as far as 2007 of the exhibition of the objects of this cabinet as a patrimonial element of French museography has testified to the existence of a cultural continuum between France and North America. Over the period of time under study a French-American praxis of museology has been revealed through the diversification of professional and academic circles of French museology. Moreover museum logics specific to spaces devoted to North American collections in France have appeared. Those conclusions characterize the Fayolle collection, a witness to a shared theorization of the field that is Museology
Daugeron, Bertrand. "Apparition-Disparition des Nouveaux mondes en histoire naturelle : Enregistrement-Epuisement des collections scientifiques (1763-1830)". Paris, EHESS, 2007. http://www.theses.fr/2007EHES0071.
Testo completoThe comprehension of the relegation of the human artifacts from the collections of the Museum d'Histoire naturelle (1797) requires connecting objects and knowledge. This issue understands better how the conditions of political production of scientific objects, revealed during the maritime expeditions and the revolutionary seizures, affect classifications. Two series will be connected : on the one hand the cognitive dimension of the collections raised by methodological problems, from a naturalist point of view which classifies through objects and, on the other hand, from the loss of the American possessions until the catch of Algiers, a colonial interval, which explores the Pacific and colonize it. The exclusion of the man-made objects would structure the deep time of the history of nature, while relegating the primitive in the margins of History, condemned to vanish or to be colonized. Behind this relegation, the vision of the Other changes turning from the savage into the primitive
Segreto, Nora. "Collectionner sous le Second Empire : l’exemple du Musée Rétrospectif de 1865". Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL002.
Testo completoIn 1865, just one year after its foundation, the Union Centrale des Beaux-Arts Appliqués à l’Industrie organized its first exhibition called Musée Rétrospectif. About 250 collectors took part in it with a selection of their art objects. At the times of the first universal exhibitions, during a new phase of industrial, commercial, and social development, the State understood that only arts could offer a guarantee for France to achieve the highest international success. In fact, the declared aim of the collectors involved in the exhibition was suggesting the French industrialists that winning a prize at the universal exhibitions was possible only if they could inspire their products from the art works. However, since the exhibition was public, there were also some other aims: educating the public to arts, proposing an aesthetic paradigm, and channelling the aesthetic choices of the visitors. Actually, most of them were also among the consumers of high-end products, who could later be interested in buying industrial and light manufacture products inspired by the art works they had admired at the art exhibition. The collectors of the Museé Rétrospectif have been not only among the most important social actors of their times, but they could be considered those who interpreted in the best way the pedagogical and educational vocation of the Second French Empire and the 19th century
Jouves, Barbara. "La conservation et la restauration des tableaux des collections privées à Paris (1789-1870)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H070.
Testo completoConcerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections
Cordera, Paola. "Dal museo delle cose al Musée Imaginaire : materiali per la (ri)costituzione del Museo di arti decorative e industriali di Frédéric Spitzer (1815-1890)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010691.
Testo completoThis study focus on the reconstruction of the collection of the art dealer Frédéric Spitzer (1815-1890), by reconsidering the role of his collection within the 19th century European frame and its meaning in the present culture within contemporary cultural dynamics at a global scale. Auctioned in 1893, his collection was considered an exemplar model of his era, marked by strong links between collection, studies, new production of art, communication and disclosure items. Reconsidered according to a multidisciplinary and a transnational perspective and based on unpublished documents, the Spitzer’s microstoria has been rewritten in the wake of his multiple identity, his European travels and his relations with the key figures of the European cultural world. His collection and his art’s objects have been studied here within their original frame, being on display in Spitzer’s mansion in Paris where social rites and private life in the reception rooms were extended into the museum, showing reference to the spirit of the Italian Renaissance in a kind of Gesamtkunstwerk. A reasoned inventory was finally compiled in order to rebuild the lost unity of the museum according to the Spitzer’s encyclopedic and taxonomic spirit in order to contribure and understand its complexity as a research support tool and as a device of information for the cultural heritage and the present mémoire collective
Marion, Michel. "Collections et collectionneurs de livres au XVIIIe siècle". Paris 4, 1994. http://www.theses.fr/1994PA040157.
Testo completoIn the Bibliotheque Nationale, in Paris, auction books catalogues are kept and also preserved: they are the basement of the present thesis. Book collectors, in their social condition, marriages, parents and locations, especially in the head town, are presented. Estates and royalties are evaluated too. Collections themselves are also presented, so in their global part than in their secular variations. Foreign editorial production, knowledge of European and nexs, which collectors used to study production are the aim of an analysis, so too the public auctions: books are very expensive. So we may say that collecting books is an advantage that only few could have
Querrien, Armelle. "L'archéologie dans les musées et collections publiques de France". Paris 10, 1986. http://www.theses.fr/1986PA100114.
Testo completoArchaeology has found a place in the movement creating museums that followed the French revolution and napoleon's conquests. Very soon, a gaff became evident between the research and presentations of classical and extra national archaeology supported by the state on the one hand and national archaeology supported by "societes savantes" and local councils on the other hand. Besides, as for back as the end of the 19 th century the presentation of museums did not keep place with the result of research; this phenomenum was reinforced in world wars. Despite all the efforts made during the past few years, the evaluation drawn around the year 1980 shows the health of the problems experienced by museums which have archaeological collections. However the potentialities that the latter offer to research and the diffusion of its results are enormous. Moreover the success encountered among the population and its leaders keeps increasing nowadays and the public touched by museums is growing larger. Therefore a propitious context presents itself for the recival of the too long underprivileged institution: the museum. Tome 1: Ist part: archaeology and the history of museums 2sd part: archaeology in French museums and public collections. Status (regulations) collections - typology of museums - staff - financial and material means - acquisitions - diffusion, research 3rd part: the public of museums. General data and survey on the people attending archaeological exhibitions. Tome II: index of archaeological museums and public collections in France
Lucas, Jean-Jacques. "Les territoires imaginés de la collection, récits individuels et collectifs : les collections et les collectionneurs d'oeuvres d'art, d'archéologie, d'arts décoratifs et appliqués dans le Centre-Ouest Atlantique entre 1870 et 1983". Poitiers, 2010. http://www.theses.fr/2010POIT5007.
Testo completoArt collecting since the mid-nineteenth century, understandable throughout this period through regional exhibitions, donations and legacies to local museums, recorded landmark values. These situations involve the embedding of several imaginary, temporal and spatial fields. The object aspiring a duration which the body will not reach, will be presented to lasting admiration in a collection. It is a monument marking the ownership of its collector, by a ligamentary function, with its real or reconstructed genealogical territory. The transfer to the public collection guarantees everlasting self surpassing and the perpetuation of a founding and edifying social. The nature of the collections of works of art, also from archaeology, decorative arts, or ethnography questions about the reference systems of the world from Poitou. Their time and geographical space come from mythogène territories for visitors to see in the space of the museum. These constructions define imagined or experienced contours in time and space. The study of these collections, their movement and sphere of influence refers to the identity values of their authors and to those ensuring the coherence of a group. The geographical area of study corresponds to three existing departments : Vienne, Deux-Sevres, and Vendee, for the most part historically associated with the Bas Poitou. The chronological frame is set between the entrance of the Charbonnel legacy to the Poitiers museum in 1870 and the arrival of a new institutional actor commissioned to collect the art of its time, le Fonds Régional d’Art Contemporain
Henry-Virly, Vanessa. "Les intailles et les camées dans les collections en France au XVIIIème siècle". Rennes 2, 2010. http://www.theses.fr/2010REN20044.
Testo completoSince the fourth millennia B. C. , cameos and intaglios have been made and used as ornaments, as talismans, or as means of political propaganda. Private individuals and administrations have also used them as seals, and from the very outset, these engraved stones have been sought after by collectors. Eighteenth-century France is no exception to this demand. This thesis sets out to determine the role and status of cameos and intaglios in the collections of the period, to identify the individuals who collected them and to evaluate the part personal taste or social conventions played in the constitution of such collections. The study of the press, publications and auction catalogues from this era in France, reveals that engraved gemstones are considered as objets d’art, as research tools and as a medium for social representation. Aside from the Répertoire of F. Lugt which catalogues 33 auctions of this type, there has been few publications in this area of the history of collections. Research carried out in this thesis has resulted in the discovery of several hundred collectors of glyptic art. Potentially, each of these individuals may now be the subject of further study using the research tools and resources developed as an integral part of this thesis. The uses to which these tools may be put is demonstrated in the analysis of several collectors including: Mariette, Caylus, the Princess Palatine and the Countess de Verrue. This thesis is the first investigation of its kind in this field and aims to contribute to the development of research on cameos and intaglios in eighteenth-century France
Girardin, Miléna. "Les legs et donations d'artistes et de leurs héritiers aux collections publiques de 1818 à 1969". Paris 1, 2003. http://www.theses.fr/2003PA010601.
Testo completoNotteghem, Emilie. "Parcours d’objets de dévotion : mémoire, esthétique, culture (France, XIXème-XXIème siècles)". Paris 10, 2007. http://www.theses.fr/2007PA100069.
Testo completoWhile cultual obligations are fading away, initiatives from private collectors, associations, sacred art museums to preserve Christian material heritage are growing. First, this study investigates individuals’ ways to distance themselves from Catholicism, in adulthood: objects are used to hold together a biographic and cultural memory. The autonomy of aesthetic from religion neutralizes objects’ cultual value; however they may acquire new ritual functions which extend or transpose domestic use of Christian traditions. Secondly, this study sheds light on religion officers’ position, caught in between two institutional movements of heritage summons – either ecclesiastical or governmental. This analysis leads to the conclusion that it is extremely difficult to work with liturgical objects and quasi-impossible to make non-religious sacred art museums. Museography seems to be helpless to resuscitate as a culture the so-called “shared heritage”
Hoffmann, Marie. "Les collections océaniennes des musées du Nord - Pas-de-Calais : étude comparée de la mise en place des collections ethnographiques régionales à partir de celle du Musée de Boulogne-sur-Mer". Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H010/document.
Testo completoThe history of the collections has been a main focus in the Museum Studies since the late 20th century. However, despite having been inventoried in the 1980s, the past of pacific collections is still mainly undiscovered, the process of their incorporation into the museum unkown. It is mostly due to the eventful history of inventories and collection managments. Museum curators often encounter objects unumbered, labels unconnected to any artifact, several numbers for the same object... But is displaying an object detached from any historical background a viable option ? Or should we always consider its history and the way it became a museum piece ? Our goal is to relate the pacific collections past, looking through the archives, unraveling the steps these artifacts took from the Pacific to Northern France. The diversity and profusion of pacific material in the North and Pas-de-Calais departments account for our regional focus. Our main point of interest is the collectors and donators, men and women who took part to the history of the artifacts, in the contexte of the notable socialibity. We highlight the way these objects came to enter the inventory of the museum, the way they were perceived by the administrations and the public, but also the way they were displayed. The two main institutions in our study are the Museums of Boulogne-sur-Mer and Douai. Both are rich in archives material and the tragic destiny of the second warrant this pre- eminence. The Hôtel Sandelin of Saint-Omer, Dunkerque Fine Arts and Lille Natural History Museums are the three other study cases presented in our thesis. Our time frame is mainly set on the 19th century, with a starting point at the creation of the first institution, the Boulogne- sur-Mer Museum
Maget, Antoinette. "Enjeux et évolutions du collectionnisme public : les collections d'antiquités égyptiennes de Berlin, de Londres et de Paris)". Paris 11, 2008. http://www.theses.fr/2008PA111029.
Testo completoViellard-Cazaumayou, Sophie. "La circulation des objets océaniens en Occident : contribution à une analyse anthropologique du marché de l'art primitif en France". Paris, EHESS, 2005. http://www.theses.fr/2005EHES0190.
Testo completoUntil recently, the anthropology research hasn't paid much attention to the tribal art market. Yet the study enriches, not only the knowledge of the french collections but also grasping the process of the value from the "curios" to art. Furthermore, we can see a different approach of exchange system. South Sea objets circulating in the Occident are useful for the understanding of tha market specificity. The growing media coverage in the 20 th century showed the emerging of these goods in the art market and especially in the auctions. The speeches of the actors specializing in that field also bring a multitude of informations to grasp the commercial manipulation of these items. This is discernible in the multiplication of references linked to the authenticity and rarefaction of the object. In addition, these also bring the collectors to keep the object as a sacred thing. However, item which became inalienable in Occident is sometimes underlying goods of oceanian identity and culture. This increases the problem of legitimacy of the possession and restitution of this object
Alhaji, Said. "Les méthodes d'expositions des collections archéologiques romaines au musée, nature et mise en scène : étude comparative entre les musées en France et les musées en Syrie". Dijon, 2008. http://www.theses.fr/2008DIJOL003.
Testo completoThis research concentrates on the methods of exhibitions of the Roman archaeological collections in museums in French and in Syria. It constructs two parts. The first theoretical part consists of three chapters which approach the development of the archaeological museum, the muséale architecture, the museum of site, the conservation and the restoration, the chain operating archaeological objects, the exhibition, the interpretation, the mediation, and finally the study of public and the valuation of exposition. The second part composes of three chapters. The first chapter is dedicated to the development of archaeological museum in French, it talks about four museums of different disciplines which present collections and Gallo-Roman archaeological sites (Lyon, Dijon, Autun and Bibracte). The second chapter approaches three different museums of Syrians present collections and the Romans archaeological sites (Damascus, Suweida and Bosra). Finally, the third chapter presents a field study which treats the results of the surveys of the public in the museums studied in Syria and in French, and which shows a comparative study between the archeological museums and their public in both countries
Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
Testo completoThis study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
Zanin, Hélène. "Rodin et les musées français : enjeux d’une diffusion (1883-1986)". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100087.
Testo completoThrough the donation of his entire work collection to the French state, Rodin founded his museum at the end of his life. The foundation of this monographic museum has been received as a model of legacy for posterity. In the past the idea that Rodin has given his full support to all the museums has been overestimated. Meanwhile, the issues of the specificity of the museums and its links with the artist has been disregarded by the historians. More broadly, the links between the artists of the 19th century and their contemporary museums has also been neglected. Yet, the works of the sculptor were found all over the world before the creation of the Rodin museum and even more after his death. We will focus on this dramatic diffusion in France to identify and understand its mechanisms. Which museums acquired Rodin’s works? Why, when and in which circumstances? What has been Rodin’s position regarding those museums? From the creation of a catalogue, the goal of this thesis is to analyze the role played by museums in the career, the knowledge, and the judgment of the artist’s work. To better understand and rebuild the institutional landscape, the social habits, the actors and networks involved in this diffusion, we will focus on the movement of the works from the studio to the exhibitions. Our study is divided in six parts: the visitor experience and the mental representations of the museum, the promotion and the legitimization strategies in the museums and the Parisian exhibitions, the depreciation and reconsideration tendencies towards the museums in the provinces, the creation and the institutionalization of the monographic museum, the organization of the posthumous diffusion by the Rodin museum, the various judgments and the contradictory readings of the famous sculptor’s work
Fontaine, Alexia. "Conditions d'émergence et développement des collections vestimentaires : patrimonialisation, muséalisation, virtualisation : regards croisés France- Canada-Québec (XIXe-XXIe siècle)". Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28272.
Testo completoCurious about the unexplained advent of the fashion museum, this study originated with the task of identifying and examining the basic characteristics of the “fashion museum, ” which it considers to be a historically specific construct. Since the 1990’s, the fashion museum has asserted itself in the cultural world as a new model of museum. This study inquires into the phenomena that undergirded this flourishing. If this institution first appeared in the 1980’s, it originated from an older model known as the “costume museum”. Thus I intend to undertake a study on the “fashion museum” using the observable phenomenon of the museum itself. To do so, this project inscribes the “fashion museum” in a long heritage tradition, demonstrating the conditions of its emergence and the trajectory that dress collections followed within the broader museum landscape, including the development of other forms of museums, from the first “costume museum” to the fashion museum of today. From a museological perspective, the fashion museum’s arrival as a new category of museum may seem truncated, and introduces ambiguity in the practices of dress collections. On the one hand, its discourse about objects is necessarily incomplete because it does not take into account the full range of typologies of vestimentary artifacts; on the other hand, it siphons interest away from older or less sumptuous collections. This type of museum exists in a state of tension, beholden to the insistence of speaking of “fashion” garments or of haute couture, rather than of costumes, which might appear outmoded. Indeed, the social sciences have show that fashion is a portmanteau word, a point of entry towards understanding the phenomenon of clothing: the history and culture of looks, the economics and sociology of appearances, the technical and industrial systems of dress. A new wave has begun for both research and museums. The passion that fashion elicits in the cultural sphere, with the attention scholars bring to the subject, has contributed to revisiting the approach of even the oldest collections and to stimulating the museological reflection this typology of museum objects that has attained an increasingly significant place within the heritage sector. Museum institutions connected with fashion are far from acquiring only contemporary pieces. The aim of this project is to generate a museology of the vestimentary heritage, thanks to research undertaken dealing with the fundamental characteristics of this phenomenon, a kind of inventory of the museum landscape, and understanding the future prospects of these collections. From the conditions under which the fashion museums emerged, this study seeks to establish a new category of knowledge about the cultural history of clothing: its genesis as heritage and its trajectory as a fitting set of objects for a museum context. On a theoretical level, this dissertation is concerned with the processes of “herigatization” and “musealization, ” essentially those processes by which a type of object becomes part of heritage and of museums. With the goal of explaining these processes, I have therefore conceived of an analytical matrix that brings together the observations of numerous researchers in museum studies and museology. Thus, this project’s theoretical framing has been refined by elaborating the concept of “regimes of museality, ” derived from French historian François Hartog’s notion “regimes of historicity, ” and the concept of “regimes of authenticity, ” adapted from Quebec historian Lucie K. Morisset. These concepts provide the possibility for determining the modalities, logic, and dynamics of the museological phenomenon. This research is based on a crossover study of French and Quebec institutions that form the relevant population: les Musées de la civilisation (Museums of Civilization) in Quebec City, Canada; le Musée des civilisations de l’Europe et de la Méditerranée (Museum of European and Mediterranean Civilisations) in Marseille, France; the Cité internationale de la dentelle et de la mode (International Center for Lace and Fashion) in Calais, France; and the Musée de la mode (Fashion Museum) in Montreal, Canada. A microeconomic examination of the emergence and development of the dress collections at these museums clarifies four cycles at the macroeconomic level of investment of meaning, discursive construction, and elaboration of museum practices specific to vestimentary heritage… Four regimes of museality.
Patin, Christelle. "Les restes humains dans les musées : anthropologie et histoire des collections françaises (XIXe-XXIe siècle)". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0608.
Testo completoSince 1990, human remains of anthropological collections in museums give rise to arguments. That thesis compare current historiographic interpretations to a precise reconstitution of the scientific and social life of French collections, till gathering of corpse, transportation, transformation, public display to current return. Anatomic body of Saartjie Baartman, the "Hottentot Venus", and the skull of the kanak leader Ataï, constitute both biographies of that research
Sarmant, Thierry. "La république des médailles : numismates et collections numismatiques à Paris du XVIIe au XIXe siècle". Paris 1, 1999. http://www.theses.fr/1999PA010580.
Testo completoLike the republic of letters, the republic of medals lived his golden age in XVIIth and XVIIIth centuries. Then, Paris was one of the most important centres of European numismatical activity, particularly during the reign of Louis XIV. This republic was neither a coherent structure, nor an organised network. The metallical nation never had any centre or head no collection, not even the king's one, could play this part. However, in the first quarter of the XVIIIth century, a body, the academie royale des inscriptions, was something like a senate of this republic. In fact, the republic of medals'cohesion came from a community of uses and conceptions. The same books of medals circulated all over europe the cabinets were ordinated according to the same principles. The alliance between collectors and scientists was a strong cement too the republic of medals was respublica curiosa as well as litteraria. Coin collection was always linked with books of medals the medal cabinet was a complement and an ornament for a library so, numismatic curiosity presents a great likeness with book collection : same alliance of aesthetic worry and of intellectual one, same value of empirical knowledge for research, same importance of the sense of touch, same attention to the notion of exemplary. The great steps of the history of numismatics are 1660, when the science of medals became independent, years 1720-1730, when numismatical curiosity faded away, years 1770, when the pellerin generation brought decisive transformations to method and a new point of view on coins, and, finally, the years 1830, when numismatics found the centres it yet conserves : big Parisian merchants, revue numismatique, soon société francaise de numismatique, cabinet des médailles. Long seen as an uninteresting period of numismatics' history, XVIIIth century was, in fact, an essential moment, and the true grand siecle of the republic of medals
Absa, Dembélé Anna. "Le Sénégal dans les collections du Musée de l'Homme : histoire et processus de collectes". Paris, Muséum national d'histoire naturelle, 2001. http://www.theses.fr/2001MNHN0044.
Testo completoTillerot, Isabelle. "Jean de Jullienne et les collectionneurs de son temps : un regard singulier sur le tableau". Paris 10, 2005. http://www.theses.fr/2005PA100107.
Testo completoThis thesis concerns the relationship between ancient and modern art in Parisian collections of the first half of the 18th century. It studies the place of Jean de Jullienne within a group of collectors in his circle, in its cultural, financial and economic implications, as well as the function of the collection, the role it played for living artists, and issues of display. Finally, it examines the stakes of the collection and its ends, as well as the signification of painted works of art within the space of the collection
Tokpassi, Hervé. "Les parlementaires bordelais et les arts au XVIIIème siècle : architecture et collections". Bordeaux 3, 2009. http://www.theses.fr/2009BOR30008.
Testo completoThrough their social position, the members of Parliament were the most influential and the richest class in the eighteenth-century. They also had the cultural prestige that allowed them to be in the well educated elite of the Age of Enlightenment. This work is to establish the relationship between the members of the Bordeaux Parliament and the artistic environment. The first part discusses the Bordeaux Parliament and the robine nobility’s lifestyle specifically through the fortune of his members and the place of the parliamentary group within the cultural and intellectual elite of Bordeaux. The second parts deals with the study of the architectural heritage. It states the architects achievements financed by the magistrates "master builders", whose imposing, private, and richly adorned hotels plus the prestigious chateaux, still represent their power at the time. The last part analyses the furniture design and style and the different collections of the Members of Parliament, that show the taste and the artistic sensibilities of this enlightened class. The study ends by identifying a possible patronage from the members of Parliament
Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
Testo completoL’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
Ullauri, Lloré Elisa. "Céramique contemporaine, un monde de l’art périphérique : Repenser les frontières artistiques par la céramophilie". Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1172/document.
Testo completoThis thesis aims to highlight the displacements of artistic borders through the case of contemporary ceramics, a peripheral world among the nebula of the worlds of art. Beyond the classic break between art and craft models, this research analyzes how a world with a strong artistic and cultural identity is built and in which amateurs plays a significant role. From the coexistence of two sides within the heart of contemporary ceramics - the patrimonial regime and the paradigm of contemporary art – gives birth to a situation of relative marginality: on the one hand there is the low recognition of ceramics within the artistic scene, on the other hand, the artistic attachment of social actors (ceramists, amateurs, collectors, professionals) who consider their double sense of belonging as a value. Based on a survey of ceramic amateurs, we analyze ceramophilia and the stakes of the emotional dimension of artistic commitment and attachment to the orientations of ceramics and the renewal of its system of meanings. It is also from an organizational, professional and symbolic inventory that we study the axiological changes affected by the process of artification. The spaces where the aesthetic and market values of objects (pottery markets, galleries, museums, exhibitions, etc.) are structured show an unstable but constant artistic economy. The study of mediation - as the territory where representations are prefigured - reflects a world governed by a close human proximity rather than by institutional relations. This thesis aspires to show how, despite the many tensions present within this art world, this one exists because of the differential values between contemporary art and arts and crafts and its difficulty to define itself in contemporary art, which is intersected by the paradoxical ambitions of its developers, who coexist and reaffirm themselves at the heart of the collective identity of an artistic community, thanks to the commitment of the same aforementioned amateurs and ceramophiles
Zmelty, Nicholas-Henri. "L'affiche illustrée en France (1889-1905) : naissance d'un genre ?" Amiens, 2010. http://www.theses.fr/2010AMIE0007.
Testo completoRolland, Frédéric. "Les collections privées de films de cinéma en support argentique en France". Versailles-St Quentin en Yvelines, 2009. http://www.theses.fr/2009VERS008S.
Testo completoThe vagaries of film preservation (within the film industry) has led to a considerable number of films to vanish. While film and audiovisual archives institutions have multiplied and they have significant funds, there are at the same time in France amateurs, collectors of silver film prints, which sometimes have rare or unique titles in all formats. Beyond release films, specialized for amateur market, face a legal environment often hostile to their passion, their activities and even their existence are unknown. Knowledge of available resources is still desirable in terms of heritage but also functional when the transition process chain engineering manufacturing and distribution of photochemical film to digital began last few years. The digitization of holdings listed should remain incomplete for long and many films will be invisible. Private collectors could further collaborate with institutions and rightholders to the preservation of French cinema
Cordier, Samuel. "Tendances et particularismes des collections provinciales au XVIIIe siècle : l'exemple du nîmois Jean-François Séguier". Paris, Muséum national d'histoire naturelle, 2005. http://www.theses.fr/2005MNHN0059.
Testo completoHow do people build collections in the French province during the 18th century ? The study of Jean-François Séguier’s (1703-1784) biography and masterpiece, allows us to measure the contribution of a provincial collector in the age of Enlightenment to France and to the scientific European world. At a time when collections are less and less an object of curiosity and become increasingly rationally organised, exchanges between Paris and the scientific networks contribute to mutual enrichment. Known as for his works upon antiquities, Séguier is also a naturalist whose masterpiece accurately reflects the changing envision of nature during the 18th century. The link between collections and the state-of-the-art reflects the intensity of exchanges and constant information transfers between European botanists. In touch with Linnaeus, with the botanists of the “ King’s Garden ” in Paris, and with those in Montpellier, Séguier is a modern researcher of the 18th century. Testimonies from contemporary visitors enable us to reconstruct the setting up of the different rooms of an historical House, which clearly contrasts with the Cabinets of curiosities and where the cosmopolitism of the Enlightenment took its roots. By opening his door and proposing an unique image of his knowledge, Séguier attracts numerous visitors and invents new modes of socializing. Our study underlines the strong impact of those exchanges
Marandet, François. "Marchands et collectionneurs de tableaux à Paris (1710-1756) : les acteurs et les mécanismes de circulation de la peinture dans la première moitié du 18ème siècle en France". Paris, EPHE, 2009. http://www.theses.fr/2009EPHE4016.
Testo completoIn France, during the first half of the eighteenth century, the role played by art dealers in the formation of the greatest collections of painting (the Regent, Pierre Crozat, Countess de Verrue, prince of Carignano) remains an obscure matter. The discovery of the account book of an art dealer and of many other archival documents enables us to reconstitute some of the most important transactions of the art market. At the end of the reign of Louis XIV, jewelers like Le Tessier de Montarsis negotiated for the Regent and Pierre Crozat a series of fundamental works art (by Raphaël, Veronese, Poussin), while some "maîtres-peintres" like André Tramblin and Pierre Testard started playing a growing role in the exchanges. After 1720, dealers who came from the Netherlands and who had established themselves in Paris, especially Joseph-Ferdinand Godefroid, were now advising the most famous collectors. Renowned for their gifts as restorers, Flemish dealers promoted Northern genre scenes while the "classical taste" (Poussin, Titian, Tintoretto) fell into some kind of disgrace. The phenomenon can be seen when the collection of La Chataigneraye was auctioned (1733) and when some forty pictures were acquired to enrich the collection of Louis XIV (1742). The auction catalogue was now gradually spreading out and it is through this commercial tool that a mercier like Gersaint tried to develop his business. After 1740, german sovereigns turned more and more to the parisian art market, especially kings Augustus III and Frederic II. In 1756, the beginning of the war of the Seven Years was to put an end to this more european period of the markert of art
Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
Testo completoThis doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
Witkowski, Martine. "François Ier amateur d'art : les collections royales dans la première moitié du XVIe siècle". Paris 4, 1994. http://www.theses.fr/1994PA040078.
Testo completoThis study shows the artistic aspect of Francis 1's reign. It presents first the king as a connoisseur (the word collection didn't exist at the renaissance time) and as a mecene. The royal collections are then studied: collections of paintings, sculptures, tapestries, the furniture, the library, the arms' collection, the jewels, the silverware, the small antiquities, the medals, the gems and the natural curiosities. In conclusion we insist on the important role of Francis i in the French renaissance and on what happened to his collections a part of which could be preserved until today
Castelluccio, Stéphane. "L'hôtel du Garde-Meuble de la Couronne et les collections royales d'objets d'art, 1774-1798". Paris 4, 1998. http://www.theses.fr/1998PA040135.
Testo completoThis research about the hotel du Garde-Meuble de la Couronne from 1774 to 1798, now the French navy headquarters place de la Concorde at Paris, is made up three parts: the directors at the XVIIIe century, decoration and furniture of their apartment and the royal collections. The office of intendant des meubles de la Couronne belonged to the Fontanieu's family since Louis XIV. Pierre Elisabeth (1764-1784), cultured and art lover, knew very well the Parisian artistic sphere. Thierry de Ville d'Avray (1784-179z) was the result of the social ascension of his family with offices. Less cultured than his predecessor, he managed the garde-meuble as an administrator. For the realisation of his apartment, Fontanieu appeal to the royal craftsmen. They realized one of the most beautiful decoration of the beginning of the 1770's. Thierry extended the apartment and choose spectacular furniture. For them, sumptuousness of the apartment reflected the administration's prestige. Collected by Louis XIV by pleasure and for ostentation, the royal collections of objets d'art left Versailles during the XVIIIth century by the lack of interest from Louis XV and Louis XVI. Exhibit at the Garde-Meuble since 1776, the collections showed the monarchy's pomp. The revolution considered them as national patrimony, but they became a reserve of curios. The prestige of the garde-meuble was at the height in the XVIIIth century, but the Revolution did not accept it was a museum: the Garde-Meuble had just to manage the furniture: it became the present French Mobilier national
Masson, Geraldine. "Préserver et transmettre les collections de la nation : les conservateurs des musées de province sous la IIIe République". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H033.
Testo completoThe Third Republic enabled French museums to become a place of cultural education similar to that of schools. A national, federated network of museums was established for national collections of art in the early 20th Century, during the rise of provincial museums. The French state sought to display a self-legitimizing, civic-mindedness and to teach lessons of history of the Nation and national heritage to its citizens. More than an institutional history of the rise of provincial museums, this study demonstrates the involvement of the curators of provincial museums in the development of that policy and shows how it led to the creation of an organized profession. Utilizing the report of the parliamentary commission for French museums created in 1905, 263 curators in charge of state sponsored long-term loans were identified and studied. Involved in the safeguarding of patrimony, they belonged to numerous provincial academies and local scholarly societies. At the museum, they provided a local history lesson related to French national history. They had to cope with locally specific issues, particularly financial restrictions and local politics, but succeeded in fashioning a new way of working that was agreed to by ail colleagues in provincial institutions as well as French national museums, such as the musée du Louvre, when museology was created
Allano, Mylène. "Peintures italiennes en Bretagne : collections d'aujourd'hui, goûts d'hier". Rennes 2, 2005. http://www.theses.fr/2005REN20002.
Testo completoBritanny is wealthy of an underestimated inheritance, constituated of about a thousand Italian paintings that cover the large period from the XIIIth century to the XIXth century. Those pictures, that can be mostly found in museums but also in some religious buildings and town halls are a legacy from a past going before the French Revolution - a time in which emigrants and Clergy's possessions were seized to be given to the public domain. In fact, it is from the XVIIth century on, and under the boost of engraving that Britanny has been discovering Italian painting. Nevertheless, it is necessary to wait for the XIXth century and the forming of a new generation of private collectors for the picture acquisition to spread. The increasing practice of donation and, at the same time, the blossoming museums, enriched the public collections, and the State's sendings and depositings
Efrat, Tomer. "L' objet naturalisé et la nature objectivée : curiosités urbaines et collections d'histoire naturelle en France (1830-1930)". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0049.
Testo completoThe subject of this thesis is the study of natural history exhibitions and their development in France during the 19th century. In a time frame extending from the beginning of the 19th century to the commencement of the 20th century, we shall show the increasingly spectacular way in which natural objects were displayed. The dense visual milieu characteristic of the urban environment of the period introduced new norms and methods of display into museums and natural history collections. Furthermore, in the second half of the 19th century, the universal expositions, international events combining entertainment, science and mercantilism, provided an ideal space to exercise and emit new techniques for displaying scientific themes. The main author of these displays of natural history pieces is the scientific auxiliary, whose profession consists of transforming the specimens into objects for exhibition. In order to do this, he associates the sciences to the arts, thus playing an important role as a mediator between the scientific milieu and the public. Moreover, given the orientation of natural sciences towards experimental practice and more conceptual forms of representation, the scientific auxiliary is increasingly oriented towards the popular activities of society, such as the preparation of ornamental articles and the creation of wax cabinets and dioramas. As a result, on the eve of the 20th century, natural history museums actually became sites for show and amusement in the urban landscape
Barreteau, Frédérique-Edwige. "La pratique et le goût d'un collectionneur d'estampes à Nantes, durant la seconde moitié du XIXème siècle : Thomas Dobrée (1810-1895)". Rennes 2, 2007. http://www.theses.fr/2007REN20010.
Testo completoThomas Dobrée (1810-1895), heir to a family of Nantes traders, gathered a collection of three thousand two hundred and fifty five prints from XVe to XIXe centuries mainly schools of North, with a predilection for the French school of the XVIIe century and a passion for Dürer and Rembrandt. These engravings in their majority were acquired at the time of the auction sales of the Drouot hotel and abroad of 1850 to 1880, via merchants of reputations : Vignères, Clément and Loizelet. Dobrée was in competition famous amateurs such as Dutuit, Rothschild, Behague, etc. The force of the Nantes funds lies in the great quality of works obtained, in their prestigious sources and the richness of the handwritten sources preserved within the five hundred catalogues of auction sales, some annotated, present in the invaluable library of the Dobrée museum. These new data make it possible to understand the mechanisms of the formation of a collection of engravings during the second half of the XlXe century, by putting forward the practice of an amateur and the tastes which chaired its choices and to confront them with those of its contemporaries
Ntaflou, Christina. "Les musées d'art en Grèce : une histoire contemporaine des pinacothèques publiques (1950-2010)". Paris 1, 2012. http://www.theses.fr/2012PA010512.
Testo completoWeil-Curiel, Moana. "Recherches sur Louis Hesselin (1602-1662), ses résidences et ses collections". Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4038.
Testo completoNékoulnang, Djétounako Clarisse. "Les collections scientifiques et leur valorisation : une politique de recherche et un enjeu socio-culturel. L'exemple du patrimoine tchadien et d'autres collections paléontologiques africaines". Thesis, Poitiers, 2015. http://www.theses.fr/2015POIT2288/document.
Testo completoFor the XVth century Italy was a playground of favourite of collectors, private individuals among whom some very early placed their collections at the disposal of the public. The curious collect objects for the most part of the cases for reasons for being able to, of politics or still religious option, but not with the aim of preserving them. However the development of networks of sociability and business in the XVIth century made cabinets of curiosity an European reality. When the collectors die, certain collections are sold and of other one transformed into museum from the XVIIth century, others are also, in the XVIIIth and in the XIXth century, at the origin of collections kept at present in high schools and universities. The history of the European collections, including with regard to the most recent evolution of museums, allows to think about what can and have to be collections today, and as regards their preservation and the conditions of their study, and as for their opening to the public. Yet further to major discoveries in paleontology in Africa, and with the aim of managing and valuing these collections, numerou national museums settle in capitals and museum representation change to become real museums oriented developments of scientific research. It is also through the paleontological discoveries in Africa that the whole world and the Africans became aware themselves of the diversity and the immense natural and patrimonial wealth of this continent. The paleontological collections of the Chad present a very important scientific interest, which results from their impact on the knowledge of the " Origin and the History of the Human Family ". On more than 20 000 fossil specimens brought to light by the MPFT, 18343 are inventoried and digitized, including 316 types and figured, a database was built with these guys and figured in Access is posted on the CNAR Site and catalogs on these type specimens were also developed and printed in this work. These collections constitute one of the richest paleontological collections of Central Africa today, in particular for the period of Mio-Pliocène (from 7,3 to 3 My). Also generates an undeniable socio- cultural issue. A study is conducted and trails are proposed to ensure not only a true conservation policy but also of valuation, including the general public. Our thesis intends to contribute on second thought on the future of the African, in particular Chadian collections
Miranda, Mendoza Ileana. "L' économie du patrimoine écrit : le marché des autographes". Paris 1, 2010. http://www.theses.fr/2010PA010078.
Testo completoVerbeke, Karine. "Le Monnayage médiéval alsacien du VIe au XIIIe siècle, à travers les collections numismatiques de la Bibliothèque nationale et universitaire de Strasbourg et de la Ville de Strasbourg". Université Marc Bloch (Strasbourg) (1971-2008), 2001. http://www.theses.fr/2001STR20035.
Testo completoThe subject of this paper is the history of the Alsatian coinage within the territory of the diocese of Strasbourg, from the first traces of a monetary activity under the Merovingian sovereigns, to the advent of a municipal currency in Strasbourg at the end of the XIII. Th century. .
Mercier, Cyril. "Les collectionneurs d'art contemporain : analyse sociologique d'un groupe social et de son rôle sur le marché de l'art". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00831145.
Testo completoHattori, Cordélia. "Pierre Crozat (1665-1740), un financier collectionneur et mécène". Paris 4, 1998. http://www.theses.fr/1998PA040237.
Testo completoPierre Crozat (1665-1740) is a financier famous for his activities as a collector and patron. Protector of Antoine Watteau, friend of Rosalba Carriera, patron of Charles de la Fosse and Pierre II Legros, his Parisian hotel, rue de Richelieu, built by J. -S. Cartaud, was a rendez,-vous place for amateurs, connoisseurs, collectors and artists. The painters of the royal academy, the foreign artists coming to Paris, Bachaumont, Caylus or Mariette met together during the weekly assemblies organized by Pierre Crozat, and studied the great collection of drawings. The artists also came to study and copy the sheets of great masters. They also could see Pierre Crozat's collections of paintings, etchings, sculptures, engraved stones and some 'objets de curiosités". A large library, with many books on art, was also available. Besides, Pierre Crozat, was a lover of Italy, where he went once to negotiate, for the regent, the collection of paintings of the queen of Sweden. After his return to France, he kept some relations with Firenze, Rome (especially with the academic de France directed by Charles Poerson and Nicolas Vleughels), and Venice. In England, the duc of Devonshire became one of Pierre Crozat's correspondents. Among the activities of Pierre Crozat's circle of connoisseurs - to which theorical references were R. De piles and C. Vasari writings - began a project of a "recueil d'estampes" which particularity was to mix a text and illustrations for the first time. But it stayed unfinished. The hotel Crozat was like an academy, and had a very important place for the amateurs connoisseurs and for the artists of the beginning of the XVIIIth century
Bodenstein, Felicity. "L’histoire du Cabinet des médailles et antiques de la Bibliothèque nationale (1819-1924) : un Cabinet pour l’érudition à l’âge des musées". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040071.
Testo completoThe Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history
Pety, Dominique. "Collection et écriture : les Goncourt en leur temps". Paris 3, 2001. http://www.theses.fr/2001PA030098.
Testo completoDuring the second half of the 19th century, the Goncourt brothers have been lovers and collectors of 18th century French art and Japanese art. Their literary works must therefore be reinterpreted in the light of their art collections. To put them back into context, we first proceed to a historical study. 19th century collecting deals with conflicting values, remmants of the past being either considered as a fertile heritage or as a deal weight, which reveals the anxiety of a period confronted with the hardship of creating something new. The Goncourt brothers overcame this anxiety by uniting their collections into an single work of art in the overwhelming space of their home and private museum. .
Weinling, Morgane. "La fabrique des écoles : les cas de 1830 et de Barbizon". Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H092.
Testo completoNo English summary available
Banguiam, Kodjalbaye Olivier. "Les officiers français : constitution et devenir de leurs collections africaines issues de la conquête coloniale". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100045/document.
Testo completoThis research concerns the French officers contribution during the colonization of Africa and the quality of the african objects that they collected. It aims to study the exploration and the conquest of Africa at the end of the 19th century and the beginning of the 20th century. During this period, European countries sent in the different parts of the continent many explorers to colonize the population. Those explorers had different social classes and jobs. Among them, there were, for example, religious persons, administrators and soldiers. It is the colonial action of the French officers in the different countries of Africa (Mali, Senegal, Congo, Chad, Central Africa Republic…) that is studing. During the exploration travel, the colonial officers discovered in those countries different kinds of objects. According of the instructions they received in France before their travel, they collected the local objects as the arms, the royal objects, the music objects, the cooking objects, the objects of the traditional ceremony. It’s interesting to study where the objects provided and the conditions of the collect. It’s a best way to know the particularities of the result of the officers discoveries. At the end of the journey in Africa, the officers brought to France the result of the collect and offered the objects to the French museums as the Musée de l’Homme, the Musée de l’Armée. Today, the Musée du Quai Branly is conserving the documents about the exploration travels of many officers (Archinard, Brazza, Marchand, Tilho, Lenfant…) and some of the objects they had collected for studying the customs of the African populations. We interroged about 1500 objects they had collected. The history of those objects is associated to the Africa colonization history. Nowadays, those objects constitute a colonial heritage and permit to analyze the European vision and the military perception about the African material culture and to know the degree of the civilization of the African populations who made and used those objects in Africa at the end of the 19th century and the beginning of the 20th