1st visit Musée de L'oeuvre Notre-Dame

The Museum Oeuvre Notre Dame


It presents the art of the Middle Ages and the Renaissance in the Upper Rhine region. The statuary of the cathedral of Strasbourg, paintings, sculptures, stained glass, silverware, furniture and a Gothic garden are collections of this museum atmosphere. A first visit of the Museum of Notre Dame work: writing workshops In front of Each of the works covered, a writing exercise with forced Many Individuals allowed to Each student has first-have personal approach to the work. The pooling of different answers Each Time Was the starting points of discussion.

Work 1

Deacon rood screen Strasbourg Cathedral Sandstone in 1250, the round H: 149 cm This young deacon Does not hold a book His Hands … There is something else … Write constraint: In his hands, this young man holds Perhaps Stone … or maybe … or maybe … List all que le might statue

Carefully grip n In His Hands

Work 2

The Tempter South portal of the western façade of the cathedral 1280-1300 Towards Sandstone, traces of polychrome H. 160-170 cm Here is The Beginning of sentences says the statue (Inspiration: Stephanie Schneider, workshops expressions, access editions, 2010): I am … One day, I … One day, I Was Told I forgot … that … I have … I do not have … I wait … I would like …


Works 3

13th century. North Portal, façade of Strasbourg Cathedral Sandstone Constrained writing: Maybe She Was turned to stone because … List what petrify Could the woman and turn into a statue.


Work 4

Lovers dead, Swabia around 1470, oil on panel Collective poetic play What for? …

Because …


1st visit to the Musée Alsacien

The Alsatian Museum


The Alsatian Museum seen from the Quai Saint-Nicolas

The courtyard of Alsatian Museum

The collections of the Museum occupy three old Alsatian

Strasbourg houses

(23 to 25 Quai Saint-Nicolas) and present through objects and sets the lives of wealthy rural families Alsatian the eighteenth and nineteenth centuries.



A tour through the museum told to evoke the rural society of the nineteenth century in Alsace and highlight – without trial – situations that generate violence.

social Communitarismes

Life in the countryside, which was Catholic, Protestant or Jewish (the three religions Concordat) was held in the village, in a rich farm than Wolfisheim or more modest. Some farms were richly decorated and it was not uncommon for a decorative motif or inscription makes direct reference to religion from its owners. As for the Muslim community is not represented in the museum collections Alsace since it was formed until 1950.


Scale model of a farm Wolfisheim 1814

Wall decorated with a firm Issenhausen

When a girl is married, she usually married a young man who lived in the same town, had the same social level and the same religion it. The great moments of marriage took place in the beautiful dining-living of the house, part that Alsatian named Stub. At the time, marriages between young people of different religions were rare and very unpopular. One was talking between coreligionists, with a consequent lack of knowledge of different religious communities, hence the existence of many prejudices.


Stube Wintzenheim 1810

If the sumptuary laws (marking the social level through many behaviors which vestimentation) disappear at the end of the eighteenth century, religious differentiation is still fresh in the Alsatian costume nineteenth century. A young Protestant girl (green skirt, purple) is very different from a Catholic girl (red skirt) and they do not frequented in the small villages.


Charles Emrich, catholic and Peasant Kochersberg Kochersberg Protestant peasant, 1830
religious Communitarismes

Birth-christening-circumcision legends

Christian baptism

Childbirth was once held in the house where the woman in labor was assisted by a midwife same religion it.


Circumcision, Torah scrolls rolled a mappa, deposit SHIAL
Protective amulet given birth to Jewish, deposit SHIAL

1st visit to Musée des Beaux-Arts


MUSEUM OF FINE ARTS The museum presents a panorama of the history of painting in Europe Italian and Flemish primitives to 1870

First visit of the Museum of Fine Arts

Artwork 1

Veronese, Cephalus and Procris, 1580, Oil on canvas
Violence in mythological and biblical stories
The feelings / emotions that we do not control: jealousy, fear, anger
What jealousy => fear, lack of confidence in yourself and the other
The passions too violent emotions and sometimes difficult to manage, which can lead to violence
The table tells the story of a couple, Cephalus and Procris, which are very amoureux.Tous Céphale days from the hunt and Procris is concerned that in the forest it finds another femme.Elle is jealous! To have the heart net, one day she decides to follow him without being seen. During the chase, Procris hides behind a bush of which it is unintentionally move the feuillage.Pensant it is an animal, Cephalus throws his spear into the bush and injures his wife mortally!
Artwork 2

Giuseppe Maria Crespi, Christ fallen under the cross, around 1735,

Oil on wood

• A man abused … how do you see? How the painter he shows us his suffering?
• What did he have done to suffer such violence?
• This man is the Christ.Représenté swollen face during his Passion, he is here accompanied by one of his executioners seems to revel in the suffering it inflicts. Few painters have figured Christ in such suffering of his body. A pain he shares with us his look.

Artwork 3 et 4

Jean-Frédéric Schall, Maternal Fright
Towards 1798Huile wood and oil on canvas
The feelings / emotions that we do not control: jealousy, fear, anger
The choices made and their consequences … … write the rest of the story (What are the consequences of violence and how things right? …

When possible ?)
• A couple is facing a terrifying spectacle in their bedroom, the bed of their baby was overthrown and their dog has the mouth

Thinking that the animal attacked the child, the father does not seek more

explanations and beat the dog to death … He will realize too late that the poor animal was innocent. The dog had protected the child against the attack of a snake. It is the blood of the reptile he had in the mouth!

1st visit Musée d'Arrt Moderne et Contemporain

 The modern and contemporary art museum


Its collections of paintings, sculptures, installations, graphic arts and photography from 1870 to the present, are mainly focused on Western Europe (Kandinsky, Picasso, Arp, Baselitz ) and provide a rich overview pioneers of modern art to contemporary art. Two or three annual exhibitions complete the artistic panorama.


Artwork 1

Auguste Rodin, The Thinker, 1904Plâtre cake on wood 183.5 x 156.5 x 142 cm.
The human condition, often violence is related to fear, fear of death.
Will I be judged by my actions?

Artwork 2

Victor Brauner, The Word, 1938Huile on canvas 73 x 60 cm
Painting Brauner puts Image parole.Que the question of do we say? That include those listening? Words can become aggressive objects, weapons or simply the messengers of our darkest impulses.
= The power of words, communication
Artwork 3

• André Masson, horses attacked by fish, 1932Huile on canvas
By an automatic procedure (let go of the pencil on the canvas without looking)
Masson brings out of his unconscious violent and improbable
scene of battle between fish and horses, but it leaves open the
viewer to invent his own interpretation
= convert forces into something else,
the importance of different viewpoints
regarding interpretation; How to express things that are not made
in our mind: the impulses?
Artwork 4

Georg Baselitz, Bild einunddreizig 1994 Oil on canvas

The painting stands out for its format and technique.On guess watching the pictorial traces the artist worked on the ground, he walked on the canvas and painted with hands directly, as a kind of fight with his own table. The manner of painting reveals the wrath of the artist.
Violence = the pictorial touch


Artwork 5

AR Penck, Vor dem Ausschuss (front scrap) 1989Acrylique on canvas 340 x 340 cm
Penck (born artist RDA) invented a universal language creating gross signesgraphiques which contrast sharply with bright colors dripping from the bottom. By accumulating archetypal symbols, the artist tells the violent history of mankind.
= The universal character of signs, colors (archetypes) to tell … even violence

1st visit to the Musée Tomi Ungerer

The Tomi Ungerer Museum
International Center of Illustration

Step 1: The children’s albums
The class is divided into groups.
Each group draws two words from the list on the figurative book.
Each then had to go in search of an illustration of an album Tomi which illustrated the two words drawn.
The Giant of Zeralda, Paris, School of Leisure, Paris, 1971.
Zeralda‘s Ogre, New York, Harper & Brothers, 1967
Zeralda giant is a tale where a nice and sweet little girl will turn an ugly ogre amateur fresh meat in a good father of a large family.

Zéralda, my dear, I feel good there! I can not move any member, and everything turns before my eyes. I eat too much of baked potatoes, at noon. I could never go to the market tomorrow! It will take you to go alone in my place. On this picture, deZéralda father says one thing, the picture says another. On the ground, a bottle of wine half drunk, a woman’s portrait crossed with a black ribbon, these details suggest to us that this is a family man, widowed and unhappy who takes refuge in the alcohol.


Match, Paris, School of Leisure, Paris, 1974. Match, New York, Parents Magazine Press, 1974.
Match is a tale rewritten by Tomi Ungerer from the story published in 1845 by Hans Christian Andersen, a Danish author. It updates the by including it in our modern society. Match is an orphan who searches the bins to try to survive. Nobody cares about her, until magically an abundance of food and objects appear. It distributes to the needy and by ripple effect throughout the city shares its wealth.


The mayor was embarrassed, the military seemed unnecessary. In order to save its popularity, the mayor climbed a pile of vegetables to make a speech. But nobody listened so he stopped speaking after a moment. Tomi Ungerer through the figure of the mayor mocks this issue is power and the need to obtain official recognition for adults. It shows their narrow-mindedness and their little heart. But it is a child who will make them change because it is the them, children who will make the world of tomorrow.


* No kiss for Mommy, Paris, School of Leisure, 1979. No Kiss for Mother, New York, Harper & Row, 1973. A book as Tomi Ungerer autobiography which recounts her childhood and simultaneously plays reality. His father died when he was only 4 years reappears in an authoritarian father who educates caricature with his cane. His mother she becomes hazy and totally shifted.

In an instant the two cats roll on the ground, blowing, hitting, biting, scratching, to the delight of young viewers who are divided into two camps and open their paris. Often starts a fight over something trivial, a misunderstood glance, someone who forgets too eager to greet you. When the words formalize this point, it is possible to exchange, when words are too late insults whose outcome is often a fight. The harmed another, the seizure of power in the form of devouring in this image.


Little Dancer Aged Fourteen

Hilaire-Germain-Edgar Degas, French, 1834-1917
Modeled 1879-81, cast 1919-21
Bronze with gauze tutu and silk ribbon, on wooden base

When Degas’s Little Dancer Aged Fourteen was first exhibited at the 1881 Impressionist exhibition—modeled in wax, with a real tutu and real hair—reaction was mixed. The figure’s awkward limbs and inscrutable expression seemed at odds with the traditional image of the elegant ballerina. Some critics called the sculpture “hideously ugly,” while others applauded its realism. This bronze was cast from the wax original after Degas’s death.

Read more here: http://www.clarkart.edu/Collection/3551

Is art criticism a type of aggression?

If so, where is the line between constructive criticism and hurtful criticism?

The ballerina in this sculpture does not look happy or relaxed. Is her discomfort justified for the sake of the art?



C.R.W. Nevinson, English, 1889-1946
Drypoint on paper

Known for his bleak and graphic depictions of World War I, C. R. W. Nevinson worked as a painter and printmaker throughout his career. Nevinson began his artistic training in 1908 at St. John’s Wood School of Art, and enrolled at the Slade School of Fine Art in London the following year. His visit to the Sackville Gallery’s 1912 Futurist exhibition inspired him to start working in that manner. His connection with the Italian Futurists and especially their leader, the poet and editor Filippo Tommaso Marinetti, was cemented with their jointly written manifesto, “Futurism and English Art” (1914). But in marked contrast to the Futurists’ heroicizing approach to World War I, Nevinson increasingly utilized this style to capture the war’s horror and devastation. As an ambulance driver for the Red Cross and, later, as an official war artist for the British government, Nevinson developed a visual vocabulary focused on military combat and its aftermath. Abandoning Futurism in 1919, Nevinson concentrated on naturalistic urban scenes until ceasing his printmaking practice in 1932. His autobiography, Paint and Prejudice, was published in 1937 as a memoir primarily of his experiences as an artist during the Great War.

The Lamentation

The Lamentation

Jan Provoost, Netherlandish, 1465-1529
Oil on panel

Joseph of Arimathea supports Christ’s body as John the Evangelist wipes away a tear and places a consoling hand on the Virgin’s shoulder. Mary Magdalene clasps her hands in prayer. In the background, three crosses refer to Christ’s recent Crucifixion, and a man preparing a tomb alludes to his future entombment. The painting may originally have formed part of a polyptych, an arrangement of four or more panels, telling the story of Christ’s life. By including a Gothic church, Provoost set these scriptural events in the fifteenth century.

Dead Christ with Joseph of Arimathea and Nicodemus (Sepulcrum Christi)

Dead Christ with Joseph of Arimathea and Nicodemus (Sepulcrum Christi)

Perugino, Italian, 1450-1523
Oil possibly with tempera on panel, transferred to fabric on panel

Joseph of Arimathea looks on contemplatively as a tearful Nicodemus supports Christ’s lifeless body on a stone tomb, which is inscribed in Latin with the artist’s name and the work’s subject, “sepulcher of Christ.” The painting may originally have been positioned above an altar in a private chapel, where its somber mood was meant to encourage devotion and prayer. Despite his bloody wounds, Christ is depicted with an idealized body, like that of a classical statue, and a serene expression, suggesting his eventual triumph over death.

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