New Title | The Origins of Sex
Dabhoiwala’s book appeared earlier this year, building on a 2010 Past and Present article, and I should have noted it months ago. I’m not sure scholarly reviews of it are yet in (please add what I’ve overlooked), but it was reviewed widely in the popular press. Here’s one of those from The Literary Review:
Faramerz Dabhoiwala, The Origins of Sex: A History of the First Sexual Revolution (Oxford University Press, 2012), 496 pages, ISBN: 9780199892419, $35.
Reviewed by Norma Clarke, Kingston University
A woman born in 1600 grew up being told she was the most lustful of God’s creatures. Come 1800 and the message was reversed: she was ‘naturally’ delicate and pure. No longer having lusts of her own to manage, her role was to control the ‘natural’ lust of men and thus preserve civilisation. Dogmas about sexuality had undergone remarkable change. What remained the same was female subordination.
In this ambitious and wide-ranging book, Faramerz Dabhoiwala charts what he calls ‘a history of the first sexual revolution’. He examines the religious, economic, intellectual and social pressures that provided the context for a shift in attitudes towards sexuality. The move from pre-modern to modern times was towards sexual permissiveness and privacy, and away from external controls of individual sexual behaviours. . . .
The full review is available here»
Fellowships | Mellon Funds Critical Bibliography at Rare Book School
Fellowships for Critical Bibliography at Rare Book School
Rare Book School, University of Virginia, Charlottesville
Applications due by 1 December 2012
Rare Book School welcomes applications from scholars of 18th-century studies to The Andrew W. Mellon Fellowship of Scholars in Critical Bibliography. The aim of this new Mellon Foundation-funded fellowship program is to reinvigorate bibliographical studies within the humanities by introducing doctoral candidates, postdoctoral fellows, and junior faculty to specialized skills, methods, and professional networks for conducting advanced research with material texts.
Fellows will receive funding for Rare Book School course attendance, as well as generous stipends, and support for research-related travel to special collections, over the course of three years. Week-long intensive courses at Rare Book School include The Printed Book in the West to 1800 (taught by Martin Antonetti), The History of the Book in America, c.1700-1800 (taught by James Green), Book Illustration Processes to 1900 (taught by Terry Belanger), and Scholarly Editing (taught by David Vander Meulen).
The deadline for application to the program is December 1, 2012. Applicants must be doctoral candidates (post-qualifying exams), postdoctoral fellows, or junior (untenured) faculty in the humanities at a U.S. institution at time of application. Interested scholars are encouraged to apply as soon as possible. Details are available at the RBS website.
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Rare Book School Receives Mellon Foundation Grant to Fund Fellowships in Critical Bibliography
New fellowship program seeks to reinvigorate bibliographical studies within the humanities
Rare Book School (RBS) at the University of Virginia has been awarded an $896,000 grant from The Andrew W. Mellon Foundation to support a new three-year fellowship program, The Andrew W. Mellon Fellowship of Scholars in Critical Bibliography, whose aim is to reinvigorate bibliographical studies within the humanities. (more…)
Exhibition | American Furniture from the Kaufman Collection
Guest curator Wendy Cooper of Winterthur Museum is scheduled to speak at the National Gallery on October 28, at 2pm. The talk is entitled, “Triumphs in Craftsmanship: Masterpieces of American Furniture from the Kaufman Collection, 1700–1830.”
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Press release from the National Gallery in Washington, D.C.:
Masterpieces of American Furniture from the Kaufman Collection, 1700–1830
The National Gallery of Art, Washington, D.C., opening 7 October 2012
Curated by Wendy Cooper
Philadelphia, Desk and Bookcase, 1755-65,
mahogany, glass, brass; 290 x 137 x 68 cm (114 x 54 x 27 in). Washington, D.C.: National Gallery of Art
The National Gallery of Art presents Masterpieces of American Furniture from the Kaufman Collection, 1700–1830. When this installation opens on October 7, 2012, on the Ground Floor of the West Building, it will be a landmark moment for the nation’s capital, which until this time has had no major presentation of early American furniture and related decorative arts on permanent public view. The installation follows the promised gift in October 2010 of one of the largest and most refined collections of early American furniture in private hands, acquired with great connoisseurship over five decades by George M. (1932–2001) and Linda H. Kaufman (b. 1938).
The Kaufman Collection comprises more than 200 works of art, including American furniture, major Dutch paintings, American paintings, and works on paper, among them some 40 floral watercolors by Pierre-Joseph Redouté (1759–1840). Many of these objects were featured in 1986–1987 when the Gallery first exhibited American Furniture from the Kaufman Collection. The upcoming installation will highlight more than 100 of the finest examples of early American furniture and decorative arts, shown with a selection of American, European, and Chinese porcelains and a number of choice Redouté watercolors—all from the Kaufman Collection. Paintings by American artists from the Gallery’s collection will also be integrated into the presentation.
“The Gallery is extremely grateful to George and Linda Kaufman, who chose to give their collection to the nation so that the public can view the finest works of some of America’s greatest artisans here in the nation’s capital,” said Earl A. Powell, director, National Gallery of Art. “This unparalleled gift dramatically amplifies the great American achievements in painting and sculpture long represented at the Gallery, while also transforming our collection of decorative arts by augmenting its fine holdings of European decorative arts with equally important American examples.” (more…)
Call for Papers | Fontainebleau Art History Festival — The Ephemeral
Conference call for papers:
Third Annual Art History Festival — The Ephemeral
Fontainebleau, 31 May — 2 June 2013
Proposals due by 31 December 2012
Château de Fontainebleau (Wikimedia Commons)
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he Ministry of Culture and Communications, the National Institute of Art History and the Chateau of Fontainebleau, with the support of the Ministry of Higher Education and Research are jointly organising the third Art History Festival. Originally conceived as a meeting point and knowledge crossroads, these three days will include conferences, debates, concerts, exhibitions, film shows, lectures and meetings in the chateau and at several sites in the town of Fontainebleau. The Festival explores a different theme every year, in 2013 it will be The Ephemeral and there will be three annual meetings: The Art History Forum, a rendezvous for all the latest news in the world of the arts; the Book Salon and art reviews; and Art & Camera, a wide-ranging look at cinema and art and future prospects.
The Festival also includes training offerings for art history teachers in schools in the form of Spring University sessions and training workshops provided and supported by the Ministry of Education.All these events are viewed from the perspective of a guest country: in 2013 this guest country will be the United Kingdom. Work involving British research or concentrating wholly or partly on the United Kingdom will be particularly welcome. This Call for Papers is intended for preferably French-speaking, experienced and novice French and foreign researchers. Contributions by young researchers, conservation specialists or restorers will be given especially careful consideration.
The Ephemeral
Art first manifested itself in the earliest standing stones or paintings as an attempt to either amplify the ephemeral (festive celebrations, temporary body ornamentation, etc.) or to defy it (by seeking to capture the fleeting nature of movement as in parietal art; or as an attempt to leave a durable, even eternal mark by building monumental structures for instance).The history of art therefore swings between permanence and transience, between two opposite extremes: the monumental and performance, the stillness of an image and art that focuses on moving images, a fixed gaze and a gaze that lingers as time passes (ephemeral sequence). (more…)
Seminar Series | Gobelins Seminars, 2012-2013
As noted at Le Blog de l’ApAhAu:
Rencontres des Gobelins
Galerie des Gobelins, Paris, 2012-2013
Manufacture des Gobelins, Paris (Wikimedia Commons)
Les Rencontres des Gobelins constituent des rendez-vous hebdomadaires qui invitent un large public à partager les connaissances actuelles de l’histoire et des activités du Mobilier national et des manufactures nationales (tapisseries des Gobelins et de Beauvais, tapis de la Savonnerie et dentelles du Puy et d’Alençon).
Pour cette année, trois axes sont explorés : une pratique de l’art contemporain (l’art textile), une question esthétique (le décoratif) et un métier de la décoration (l’art du tapissier).
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Selected offerings addressing the late seventeenth and eighteenth centuries (please see the full listing at Le Blog de l’ApAhAu)
Mardi, 4 décembre : La mode des intérieurs au XVIIe siècle
• Nicolas Courtin (Commission du Vieux Paris) — L’activité des tapissiers au travers des inventaires des hôtels particuliers parisiens du XVIIe siècle
• Annabel Westman (chercheur indépendant) — Les tapissiers français à la cour du Roi d’Angleterre à la fin du XVIIesiècle
Mardi, 15 janvier : Le marché des étoffes (XVIIIe siècle – 1)
• Natacha Coquery (Université Lumière Lyon 2) — L’art du tapissier à Paris au XVIIIe siècle : de la réparation à l’innovation
• Richard Cartigny (Collège Anceau de Garlande, Roissy-en-Brie) — Les fournisseurs des tapissiers parisiens au XVIIIe siècle : entre proximité spatiale et professionnelle
Mardi, 22 janvier : Le décoratif et les arts du décor : matériaux et esthétique
• Sophie Mouquin (École du Louvre/Université Lille 3) — Marbres et bois : matières du décor au XVIIIe siècle
• Charlotte Guichard (CNRS/Université Lille 3) — Arts et sciences : dispositifs matériels, esthétiques et savants dans les collections du XVIIIe siècle
Un programme de recherche
L’histoire des Garde-Meubles en Europe(XVIe-XIXesiècle)
Mise en place d’un programme de recherche sur plusieurs années visant à écrire l’histoire des Garde-Meubles dans les cours européennes de la Renaissance au XIXe siècle.
Exhibition | Dark Romanticism: From Goya to Max Ernst
Press release from the Städel Museum:
Schwarze Romantik: Von Goya bis Max Ernst
The Städel Museum, Frankfurt am Main, 26 September 2012 — 20 January 2013
Musée d’Orsay, Paris, 4 March — 9 June 2013
Curated by Felix Krämer
The Städel Museum’s major special exhibition Dark Romanticism: From Goya to Max Ernst is the first German exhibition to focus on the dark aspect of Romanticism and its legacy, mainly evident in Symbolism and Surrealism. Comprising over 200 paintings, sculptures, graphic works, photographs and films, it presents the fascination that many artists felt for the gloomy, the secretive and the evil. Using outstanding works in the museum’s collection on the subject by Francisco de Goya, Eugène Delacroix, Franz von Stuck or Max Ernst as a starting point, the exhibition is also presenting important loans from internationally renowned collections, such as the Musée d’Orsay, the Musée du Louvre, both in Paris, the Museo del Prado in Madrid and the Art Institute of Chicago. The works on display by Goya, Johann Heinrich Fuseli and William Blake, Théodore Géricault and Delacroix, as well as Caspar David Friedrich, convey a Romantic spirit which by the end of the 18th century had taken hold all over Europe. In the 20th century artists such as Salvador Dalí, René Magritte or Paul Klee and Max Ernst continued to think in this vein. The art works speak of loneliness and melancholy, passion and death, of the fascination with horror and the irrationality of dreams. After Frankfurt the exhibition, conceived by the Städel Museum, will travel to the Musée d’Orsay in Paris.
The exhibition’s take on the subject is geographically and chronologically comprehensive, thereby shedding light on the links between different centres of Romanticism, and thus retracing complex iconographic developments of the time. It is conceived to stimulate interest in the sombre aspects of Romanticism and to expand understanding of this movement. Many of the artistic developments and positions presented here emerge from a shattered trust in enlightened and progressive thought, which took hold soon after the French Revolution – initially celebrated as the dawn of a new age – at the end of the 18th century. Bloodstained terror and war brought suffering and eventually caused the social order in large parts of Europe to break down. The disillusionment was as great as the original enthusiasm when the dark aspects of the Enlightenment were revealed in all their harshness. Young literary figures and artists turned to the reverse side of Reason. The horrific, the miraculous and the grotesque challenged the supremacy of the beautiful and the immaculate. The appeal of legends and fairy tales and the fascination with the Middle Ages competed with the ideal of Antiquity. The local countryside became increasingly attractive and was a favoured subject for artists. The bright light of day encountered the fog and mysterious darkness of the night.
The exhibition is divided into seven chapters. It begins with a group of outstanding works by Johann Heinrich Fuseli. The artist had initially studied to be an evangelical preacher in Switzerland. With his painting The Nightmare (Frankfurt Goethe-Museum) he created an icon of dark Romanticism. This work opens the presentation, which extends over two levels of the temporary exhibition space. Fuseli’s contemporaries were deeply disturbed by the presence of the incubus (daemon) and the lecherous horse – elements of popular superstition – enriching a scene set in the present. In addition, the erotic-compulsive and daemonic content, as well as the depressed atmosphere, catered to the needs of the voyeur. The other six works by Fuseli – loans from the Kunsthaus Zürich, the Royal Academy London and the Staatsgalerie Stuttgart – represent the characteristics of his art: the competition between good and evil, suffering and lust, light and darkness. Fuseli’s innovative pictorial language influenced a number of artists – among them William Blake, whose famous watercolour The Great Red Dragon from the Brooklyn Museum will be on view in Europe for the first time in ten years.
The second room of the exhibition is dedicated to the Spanish artist Francisco de Goya. The Städel will display six of his works – including masterpieces such as The Witches’ Flight from the Prado in Madrid and the representations of cannibals from Besançon. A large group of works on paper from the Städel’s own collection will be shown, too. The Spaniard blurs the distinction between the real and the imaginary. Perpetrator and victim repeatedly exchange roles. Good and evil, sense and nonsense – much remains enigmatic. Goya’s cryptic pictorial worlds influenced numerous artists in France and Belgium, including Delacroix, Géricault, Victor Hugo and Antoine Wiertz, whose works will be presented in the following room. Atmosphere and passion were more important to these artists than anatomical accuracy. . .
The full press release is available here»
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Available from the publisher:
Catalogue: Felix Krämer, ed., Dark Romanticism: From Goya to Max Ernst (Ostfildern: Hatje-Cantz-Verlag, 2012), 305 pages, ISBN 9783775733731 (German edition ISBN: 9783775733724), $70 / 35€.
The exhibition, which presents the Romantic as a mindset that prevailed throughout Europe and remained influential beyond the 19th century, is accompanied by a substantial catalogue with contributions by Roland Borgards, Ingo Borges, Claudia Dillmann, Dorothee Gerkens, Johannes Grave, Mareike Hennig, Hubertus Kohle, Felix Krämer, Franziska Lentzsch, Manuela B. Mena Marqués and Nerina Santorius. As is true for any designation of an epoch, Romanticism too is nothing more than an auxiliary construction, defined less by the exterior characteristics of an artwork than by the inner sentiment of the artist. The term ‘dark Romanticism’ cannot be traced to its origins, but – as is also valid for Romanticism per se – comes from literary studies. The German term is closely linked to the professor of English Studies Mario Praz and his publication La carne, la morte e il diavolo nella letteratura romantica of 1930, which was published in German in 1963 as Liebe, Tod und Teufel:
Die schwarze Romantik (literally: Love, Death and Devil: Dark
Romanticism).
Seminar Series | Eighteenth-Century Studies at Queen Mary University
From the QM Centre for Eighteenth-Century Studies:
Eighteenth-Century Studies Seminar Series, 2012-2013
Queen Mary University of London
All are welcome to attend this year’s Eighteenth-Century Studies Seminars at Queen Mary University of London. Sessions meet on Wednesdays from 5:00 to 7:00 pm in the Seminar Room, Lock-Keepers Cottage Graduate Centre, Queen Mary University of London, Mile End, London. For updates and more information, see our website.
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10 October 2012
Charles Saumarez-Smith (Royal Academy) with Mark Hallett (Paul Mellon Centre for Studies in British Art)
‘The Company of Artists’: On the Origins of the Royal Academy of Arts
21 November 2012
Charles Walton (Yale)
The Fall from Eden: The Free-Trade Origins of the French Revolution
30 January 2013
Malcolm Baker (U California Riverside)
Celebrating the Illustrious: Roubiliac, Newton, Handel and Pope
13 February 2013
John Barrell (Queen Mary)
‘I know where that is’: The Place of Edward Pugh
27 February 2013
Naomi Tadmor (Lancaster)
The Nuclear Hardship Hypothesis: An Eighteenth-Century Case Study
13 March 2013
Tony LaVopa (North Carolina)
David Hume in Paris: Reading a Friendship
27 March 2013
Susan Manning (Edinburgh)
Becoming a Character
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Convenors: Markman Ellis, English (m.ellis@qmul.ac.uk); Colin Jones, History (c.d.h.jones@qmul.ac.uk); Miles Ogborn, Geography (m.j.ogborn@qmul.ac.uk); Barbara Taylor (English and History); and Amanda Vickery, History (a.vickery@qmul.ac.uk).
Travel instructions: Central Line or District Line to Mile End. Exit tube station, turn left down Mile End Road, cross Burdett Road, go under the Mile End Green Bridge (a large yellow bridge), over the canal, and the college is on the left. Enter East Gate, and the Lock-Keepers Cottage is the second building on the right.
Showcasing Versaille’s Image Bank
As Hélène Bremer notes, the CRCV Image Bank will be of interest to many Enfilade readers, and perhaps some of you will even make it to Thursday’s event showcasing the collection. From the Centre de recherche du château de Versailles:
Patrimoine écrit et numérique avec Raphaël Masson, Isabelle Pluvieux, et Elisabeth Maisonnier
L’Atelier numérique, Versailles, 11 October 2012
Singe. Aquarelle extraite du Livre des oiseaux de la Ménagerie de Versailles, 1710 (MS F 930, folio 7). © Bib. Municipale de Versailles
Depuis 2005, le Centre de recherche du château de Versailles et la Bibliothèque municipale se sont engagés dans un partenariat visant à numériser les ressources concernant le château et la vie à la cour aux XVII et XVIIIe siècles ; au cours de deux campagnes successives de numérisation, ce sont près de 16 300 pages ou images qui ont été numérisées provenant des collections de la Bibliothèque (manuscrits, estampes et imprimés), complétant ainsi les 26 000 images issues des collections iconographiques ou des archives du château de Versailles.
Cette immense base de données permet de découvrir des images différentes et singulières du château de Versailles, de ses jardins, des fêtes, des personnages qui s’y côtoyaient… Quelques thèmes y sont plus particulièrement développés : la vie à la cour, les fêtes, le costume… On y trouve aussi bien des estampes, des dessins, des manuscrits que des plans, des documents d’archives ou des périodiques. On peut ainsi y découvrir les plus belles images du Carrousel de Louis XIV, l’un des plus magnifiques livres de fêtes jamais réalisé, que feuilleter l’un des Almanachs de Versailles, ces petits vade-mecum annuels où l’éditeur Blaizot résumait tout ce qu’il fallait savoir de la vie à Versailles, à la cour ou à la ville, à la fin de l’Ancien Régime. La banque d’images mise en œuvre par le CRCV est ainsi un outil précieux pour l’historien, l’éditeur, l’amateur ou le simple curieux.
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Soirée — Patrimoine écrit et numérique
Présentation des fonds numérisés de la Bibliothèque municipale de Versailles présents dans la banque d’images du Centre de recherche du château de Versailles avec :
• Raphaël MASSON, conservateur du patrimoine et adjoint au directeur du Centre de recherche du château de Versailles,
• Élisabeth MAISONNIER, conservateur en charge du pôle patrimoine de la Bibliothèque municipale de Versailles,
• Isabelle PLUVIEUX, responsable des sites web et des bases de données du Centre de recherche du château de Versailles.
Jeudi 11 octobre 2012 à 19 heures
Atelier numérique, 8, rue Saint Simon – 78 000 Versailles
Tél. : 01 39 24 19 85 – clotilde.despres@versailles.fr
Entrée libre dans la limite des places disponibles
Exhibition | Napoléon and the Art of Propaganda
From the UIMA:
Napoléon and the Art of Propaganda: Art from the Collection of Pierre-Jean Chalençon
University of Iowa Museum of Art, Iowa City, 13 September 2012 — 29 January 2013
Curated by Heidi Kraus and Sean O’Harrow, with Dorothy Johnson
The masses… must be guided without their knowing it.
— Napoléon I to Joseph Fouché, his minister of police
Hippolyte (Paul) Delaroche, Portrait of Emperor Napoleon the First in his Office,
(Collection of Pierre-Jean Chalençon)
From approximately 1800-1815, Napoléon Bonaparte used official propaganda to control artistic autonomy and manipulate public perceptions of his regime both in France and throughout Europe. As a result, government-sponsored art created during the Consulate and Empire is frequently dismissed by art historians as lacking in experimentation, complexity, and beauty. In this extraordinary traveling exhibition, Napoléon and the Art of Propaganda, the aesthetic value and social history of so-called ‘propagandistic art’ created during the First Empire is critically re-examined through the use of visual display, close analysis, and scholarly research. Despite strict censorship laws and a dictatorial arts administration, this exhibition demonstrates that many artists working in the service of Napoléon were deeply inspired by and passionately engaged with their prescribed ‘official’ subjects. Less of a literal presentation, this aesthetic cornucopia shows off the stunning visual aspects of this luxurious Age of Empire.
Napoléon and the Art of Propaganda is a visual chronology of more than 120 drawings, prints, paintings, works of sculpture, manuscripts, medals, and objets d’art from the remarkable private Parisian collection of Pierre-Jean Chalençon. This exhibition considers the full range of official art created under Napoléon I and emphasizes the aesthetic qualities of the period. Some of the most important artists, architects, and sculptors are included, such as Jacques-Louis David, Andrea Appiani, Anne-Louis Girodet, François Gérard, Charles Percier, and Pierre-François-Léonard Fontaine. The selected works display the visual power of the Napoléonic propaganda ‘machine’ and its scope of influence both politically and artistically; illustrate how Napoléon, his ministers, and artists fabricated and produced an imperial iconography; and provide the viewer with an understanding through the use of images of the legend or myth of Napoléon that persisted after his death in exile.
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An exciting array of city-wide programs has been planned to complement the exhibition: lectures (by Bernard Chevallier, Christopher Johns, and Susan Taylor Leduc), concerts, films (Sokurov’s Hubert Robert: A Fortunate Life and Patrice Jean’s Napoléon, David Le sacre de I’image), and readings. The full schedule is available here»
Call for Papers | Restoration Knowledge
Restoration Knowledge: Reception Models for Museology and Art History
Sapienza — University of Rome, April 2013
Proposals due by 30 October 2012
It seems to be essential, at this moment, to confirm that which not long ago may have been considered paradoxical, that is to say the need to interpret the history of restoration, of conservation, of safeguard, as a process closely related to art history, art criticism and the history of museum institutions. Furthermore, in order to cope with various different shifts, one feels the necessity to go back to the beginning and analyse the subject from different angles, alternating philological analysis with different historiographical sources and traditions in order to be able to interpret art works in the context of their true historical stratification so that theoretical, practical and scientific considerations can also gain meaning in the light of the operative, cultural and institutional positions referred to.
The conference, foreseen for April 2013, has the purpose of presenting research revealing the dynamic, reciprocally influential relationship between historic-artistic forms of thought, museum history and safeguard of the patrimony and history of restoration, being a pause for reflection after about fifteen years of studies carried out in the context of Projects of Important National Interest (PRIN), nationally coordinated by the Sapienza University of Rome, in collaboration with the Historical Archive and Data Bank of Italian Restorers (Giovanni Secco Suardo Association) for the project named Culture of restoration and restorers: reception models for museology and ancient and modern art history.
Contributions on the following subjects are required:
1. Works and References Considerations focusing on conservation matters of single works or decorative complexes proving to be particularly significant as examples of how restoration choices are intimately connected to changes of reception, critical acclaim and increased knowledge of that work. Furthermore it could be useful to consider art criticism history texts as reference for restoration history and visa versa.
2. Roles and Biographies Contributions dedicated to connoisseurs, art historians, scholars, scientific experts, restorers who have had to deal with the problem of restoration from a theoretical and practical point of view, in relation, or not, to a specific institutional situation.
3. Museums Contributions in order to understand if some museums have had a precise role in the guidelines of the restoration and conservation policy and, this being the case, how much these guidelines have met with the planning and installation criteria applied.
Those interested are invited to send, by the 30th October 2012, a brief abstract of the contribution they wish to propose (maximum 2.000 characters, spaces included), sending it to convegnorestauro2013@gmail.com. Abstracts and papers will be accepted in both English and Italian. By the 30 November 2012, after a selection carried out by the scientific committee, possible acceptance of the proposal will be communicated by e-mail.
Conference Curators
Maria Beatrice Failla (Turin University)
Susanne Adina Meyer (Macerata University)
Chiara Piva (Ca’ Foscari University Venice)
Scientific Committee: Giuseppe Basile, Olivier Bonfait, Giorgio Bonsanti, Gisella Capponi, Silvia Cecchini, Marco Ciatti, Gianluigi Colalucci, Paola D’Alconzo, Helen Glanville, Michela di Macco, Massimo Ferretti, Carlo Giantomassi, Donata Levi, Mario Micheli, Marina Righetti, Lidia Rissotto, Pilar Roig Picazo, Orietta Rossi Pinelli, Ursula Schaedler-Saub, Lanfranco Secco Suardo, Bruno Toscano, Nathalie Volle
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