La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle

How is a sculpture born? A sculpture is not the work of a single hand. Besides the artist, many are the assistants working in the shadows. Old photographs show Bourdelle’s workshop filled with collaborators that refute the myth of the solitary artist, working far away from everyone and everything. I...

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Main Authors: Colin Lemoine, Amélie Simier
Format: Article
Language:fra
Published: École du Louvre 2016-05-01
Series:Les Cahiers de l'École du Louvre
Online Access:http://journals.openedition.org/cel/341
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spelling doaj-869b4d526e73437e89ad4a93fc784b672020-11-24T21:02:27ZfraÉcole du LouvreLes Cahiers de l'École du Louvre2262-208X2016-05-01810.4000/cel.341La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée BourdelleColin LemoineAmélie SimierHow is a sculpture born? A sculpture is not the work of a single hand. Besides the artist, many are the assistants working in the shadows. Old photographs show Bourdelle’s workshop filled with collaborators that refute the myth of the solitary artist, working far away from everyone and everything. In clay, plaster, bronze or marble, a sculpture crystallises several skills, multiple professions and countless tools. Inaugurated in spring 2013, and installed in the former studio of the painter Eugène Carrière (1849-1906), the educational room of the Musée Bourdelle explains the complex and plural history of the making of a sculpture. Strong with contemporary or past experiences, the space is born of the desire to help – all publics – understand, see and touch what constitutes a sculpture. The article with two authors will explain the birth and audience of this project.http://journals.openedition.org/cel/341
collection DOAJ
language fra
format Article
sources DOAJ
author Colin Lemoine
Amélie Simier
spellingShingle Colin Lemoine
Amélie Simier
La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
Les Cahiers de l'École du Louvre
author_facet Colin Lemoine
Amélie Simier
author_sort Colin Lemoine
title La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
title_short La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
title_full La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
title_fullStr La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
title_full_unstemmed La sculpture sur le bout des doigts. Retour sur l’élaboration d’une salle pédagogique et tactile au musée Bourdelle
title_sort la sculpture sur le bout des doigts. retour sur l’élaboration d’une salle pédagogique et tactile au musée bourdelle
publisher École du Louvre
series Les Cahiers de l'École du Louvre
issn 2262-208X
publishDate 2016-05-01
description How is a sculpture born? A sculpture is not the work of a single hand. Besides the artist, many are the assistants working in the shadows. Old photographs show Bourdelle’s workshop filled with collaborators that refute the myth of the solitary artist, working far away from everyone and everything. In clay, plaster, bronze or marble, a sculpture crystallises several skills, multiple professions and countless tools. Inaugurated in spring 2013, and installed in the former studio of the painter Eugène Carrière (1849-1906), the educational room of the Musée Bourdelle explains the complex and plural history of the making of a sculpture. Strong with contemporary or past experiences, the space is born of the desire to help – all publics – understand, see and touch what constitutes a sculpture. The article with two authors will explain the birth and audience of this project.
url http://journals.openedition.org/cel/341
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