For the first time, this study places Marta Minujín's performance on debt at the heart of a varied and long-term iconography. This pioneering work shows how works of art can become a powerful means to refute the idea of economic neutrality and the supposed equality of its participants, thus denouncing the hierarchies and balances of power, whether military, cultural or financial, necessary for the functioning of the current economic system.

The little-known history of a major cultural encounter: a study of the reception of Chinese painting in the West and its artistic resonances, which underwent profound changes between the 19th century and the 1930s.

The Art history reconsidered as a scientific discipline and form of discourse in the twentieth century, through a critical analysis of the work of Charles Sterling.

The various dimensions of the landscape—mental, cultural and ideological, real and pictorial—in the emblematic works of Poussin, Le Lorrain, Bourdon and their contemporaries of the 17th century.

Historical exchanges and common ground (of agreement or dissension) between literature and anthropology.

The images of exile in art history, from classical painting to the most contemporary production.

The unexplored relations between hypnosis, music and medicine in the 19th century, between the world of science and the world of art.

An experience of introspection, an epistemological reflection and an act of resistance in the face of depersonalization, around the question of the name.

An anthology of constructivist thought.

The first comparative study of artistic culture in Europe under Soviet influence following the Yalta Accords, tracing the complex relationship between art and politics and the tensions between the avant-garde and traditional practices on the other side of the Iron Curtain.

A critical and nuanced overview of the figures of the sleeping in the art and thought of the Renaissance, a source of inspiration for artists—Mantegna, Dürer, Brughel, Michelangelo or Tintoretto—as well as theologians, doctors and philosophers (from Aristotle to Zwingli, via Augustine and Montaigne), beyond the negative definition and the traditional condemnation of inactivity and unconciousness.

The essential place of writing in the work of Josef Albers (1888-1976), one of the most important artists, painters and educators of the 20th century.

A study of representations of HIV and AIDS in American and European art, that opens up a vast political, economic and social history of two decades fatally haunted by the catastrophe.

The collection of writings on art by the French philosopher, historian, semiologist and art critic Louis Marin (1931-1992).

A historiography of impressionism: a historical and critical study of the writing of impressionist history as a documentary (de)monstration.

A study that explores the complex relationship between nationalism, traditionalism and the critique of modern culture in France in the decades preceding the First World War.

A reconstruction of the vast network of images and texts that give shape to Italian fascist totalitarianism.

A survey of the history of temporary exhibitions in France, through a series of interviews with 38 curators.

Why does a painter like Delacroix paint so many religious subjects?

An investigation into artistic reproduction and the role of the engravers in the shadows who made prints signed by others, questioning the relationships of domination and subordination in creation.

An historical perspective of the representation of non-western art in western museums and imagination / an essay on the relations between African arts and avant-garde.

A collective analysis of the emergence of the “contemporary” and the transnational and transhistorical logics at work in artistic practices in Dakar in response to questions raised by globalization since the Independances, opening up new territories for sociological, economic, political and aesthetic investigations.

Examining how things are sold and exchanged within diverse cultural environments, past and present through a collection of contributions by social anthropologists and historians, this book builds a bridge between social history, cultural anthropology and economics and marks a major step in our understanding of the cultural foundations of economic life and the sociology of culture.

Drawing on extensive documentation and unpublished sources, this collective publication proposes an ambitious re-examination of Hans Hartung's prolific work and eventful personal trajectory as an actor in a broader history of abstraction, which also provides a fertile matrix for many other reflections on twentieth-century art.