Ensba StudentHandbook

Student
Handbook
2007-2008
Ministre de la Culture et de la Communication
2010-2011
Preface
2
In the hrst quarter of 20J0, ENSBAs Diplme
National Suprieur dArts Plastiques (DNSAP)
degree program was evaluated by the Agence
dvaluation de la Recherche et de lEnseignement
Suprieur and awarded an overall grade of A+.
This represents incontrovertible recognition of the
high quality and demanding nature of the training
provided at the cole Nationale Suprieure des
Beaux-Arts. Moreover, the Conseil National
Suprieur de la Recherche has agreed to recognize
our DNSAP degree as the equivalent of a Masters,
thus approving the wide-range restructuring,
reconhguration and enhancement of our training
program that has been under way in the last
several years.
Thanks to the dynamism of our faculty and
administrative teams, we have been able to realize
our goal of interdisciplinarity, intersecting courses
and activities, to encompass new artistic practices,
and to carry out a variety of experiments in
teaching-in sum, to implement a new approach
to art training. In this context, the pedagogical
foundation that has always dehned the singularity
of our school-i.e., the studio-has demonstrated
its ongoing symbolic, programmatic and functional
relevance and effectiveness, and the legitimacy of
this choice has once again been recognized. Our
current program of study thus preserves the
originality of studio teaching while being fully
adapted to and aligned with European Union
academic requirements. Our curriculum demons-
trates the value of a steady study pace and is well
adapted to the demands of todays world.
At the start of this school year 20J0-20JJ, then,
ENSBA enjoys full recognition for its programs of
study while having conquered considerable terri-
tory in the current art landscape. The increasingly
important role played by our young graduate ar-
tists and students on the national and internatio-
nal art scenes, together with the many schools
seeking partnership agreements with the cole
and the great numbers of foreign students wishing
to complete their training in art here with us in
Paris are clear signs of our institutions vitality. We
can take pride in having reached the end of a
complex transformation process, and in knowing
that we are now well situated to take on two ma-
jor challenges: developing an advanced research
program and continuing to integrate our gradua-
tes into the professional world.
However, it is also crucial not to lose sight of what
constitutes the foundations of our hve-year
training program, and to consolidate our 2
nd
-cycle
research program, understood by teachers and
students alike to be indispensable, since art is
necessarily nourished by thought about art. One
of our most important tasks is to accompany 4th-
year students in the phase of preparing and
constructing their research, and 5th-year students
in the hrst-semester undertaking of writing up
that research and defending their paper at the end
of the semester. The 5th-year research paper and
seminars are meant to deepen and enrich the
theoretical understanding that all art students
need if they are to construct their own visual
languages and acquire the critical and intellectual
baggage needed for taking on the demanding rite
of passage of the degree examination and
preparing their futures as artists.
Also in 20J0-20JJ, we will be extending our
installations at Saint-Ouen. I consider the Saint-
Ouen workshops an indispensable means of
opening up the cole to the social and urban
issues that irrigate todays artistic creation. The
hve sculpture-and-volume studios-ceramics,
forging, composite materials, mosaics, stone-
cutting and wood-cutting-have now been in
operation for a year in the Semiso-managed Cap
Saint-Ouen industrial building. Thanks to our
excellent relations with the city of Saint-Ouen, our
students have already been able to exhibit their
works in Le Jardin phmre, rue Jules Valls, as
part of the Traverse dArt 2010 cultural program.
In 20JJ, we will be installing moldmaking-casting
and modeling studios in an adjacent space-our
volume and mise-en-espace section will then
be complete. My special thanks to the mayor of
Saint-Ouen, Madame Jacqueline Rouillon, for her
continued commitment and support in this
undertaking; our shared conviction of the
necessary place of art and culture in the polis
means a great deal to me.
Developing a 3rd-cycle program of study will be
one of the Ecoles major challenges in the years to
come, and we intend to begin tackling it early in
this academic year. The experience we have
acquired in the last eight years with our La Seine
research program will be of crucial importance in
making this new move forward. The relationship
between artistic practice and research involves
complex issues that must be refected on carefully;
we need to determine what collaborations are
best adapted to the purpose and a variety of
experiments are in order. A taskforce composed of
cole faculty members is already undertaking the
preliminary studies necessary for setting up a new
three-year research cycle in the next academic
year. Students enrolled at this level will be
engaged in artistic practice and conduct theoretical
research related to their artistic work.
3
I am extremely pleased about our future collabo-
ration with the Ecole Normale Suprieure of Paris,
in the form of a seminar on history, the ENSBA
collections and ENSBA studios; likewise about the
agreement signed with the Ecole du Louvre ena-
bling students from our two institutions to work
together on specihc matters of documentation,
archiving, preservation and contemporary art
restoration.
Our other major preoccupation is continuing to
integrate our students into professional life. To
this end we will be setting up specialized post-
degree training programs, and it is my hope that
professional integration will be a primary focus in
all our future partnerships. In this connection let
me pay homage to the Fondations Edmond de
Rothschild, which have enabled us to create an
experimental program for artists working with
elementary and middle school children. The
program, which will be getting under way this
academic year, will lead to a degree and stands as
a hrst example of post-DNSAP specialization.
Three young graduate artists with the DNSAP
degree will be selected by a competent jury to
receive a year-long grant from the Fondations
Edmond de Rothschild to carry out artistic and
cultural projects in a Saint-Ouen elementary or
middle school while working on their own art.
Let me also recall that students at the unique
historical and architectural site of the cole enjoy
an exceptional cultural environment, namely
thanks to the collections at the Palais des tudes
and exhibitions at the Quai Malaquais and the
Cabinet Jean Bonna. There is also ENSBAs annual
cultural events program, which fuels students
imaginations while enabling them to discover and
explore todays many diverse artistic practices.
The Mdiathque, meanwhile, is a crucial work
tool, the natural extension of students courses
and seminars.
To conclude, let me thank all at the Ecole who
have devoted themselves with hrm will, energy
and fexibility to realizing all the projects I have
just mentioned, many of which require an
enormous amount of work and attention for an
institution of our size and scale. The hrst person to
cite is our Dean of Studies, Gata Leboissetier,
who has tackled the heavy task of coordinating all
these undertakings with remarkable competence
and energy-I am immensely grateful to her for
the job she has accomplished. Nor could I fail to
mention Carole Cronne, who heads our Scholastic
Affairs Ofhce, assisted by Herv Le Bail, Alice
Rivey and their teams. A warm welcome to Vincent
Rioux, who will be running the Digital Technologies
Section, fulhlling the fundamental task of training
our students in new technologies. My sincere
gratitude as well to all our cole faculty, ever
attentive and open to the profound transformation
of the institution to which they so generously give
of themselves and their activity.
Henry-Claude Cousseau
Director of the cole Nationale Suprieure
des Beaux-Arts
4 5
Presentation of the cole
Nationale Suprieure des
Beaux-Arts -7
Missions -8
History and architecture -9
The Collections -9
Cap Saint-Ouen studios -10
Administrative information -11
Facts and hgures 2009-20J0 -11
Admission
requirements -13
Introduction -14
J
st
-year admission -14
Admission as a transfer student -15
Foreign students -15
Registration and re-registration -16
Validation des acquis de lexprience () -16
Auditing -16
Classes for adults -17
Curriculum organization -19
ECTS -20
Introduction -20
J
st
-cycle curriculum -22
J
st
-cycle degree -22
2
nd
-cyle curriculum -24
2
nd
-cycle degree: Diplme National Suprieur
dArts Plastiques (DNSAP) -26
How Course Unit (CU) assessment is organized -26
DNSAP equivalency -26
Post-graduate year -27
Course Catalogue -29
Introduction -30
Artistic Practice Department -31
Drawing Section -37
Printmaking-Bookmaking Section -47
Digital Technologies Section -55
Technical Skills Department -63
Theoretical Study Department -77
Language Department -91
Study and training outside the cole -105
5
th
-year seminars -109
Programme
La Seine -117
Cultural Events, the
Mdiathque, 1nternational
Relations -123
Student life -129
Extranet -130
Student hnancial aid -130
Student health insurance (Scurit sociale
tudiante) -130
Complementary health insurance (mutuelles) -131
Social worker -131
Health service -131
Housing -131
Student cafeterias -132
Sports -132
ENSBA graduate information and network ofhce -132
Student association -132
Competitions and sponsored prizes -132
Student project grants -132
Exhibitions -133
Open Studios Days -133
cole news and information -133
Safety rules -133
cole administration and
services -135
Directors Ofhce -136
Deans Ofhce -136
Service de la vie scolaire (Scholastic
Affairs Ofhce) -136
Technical workshops -136
Digital Technologies Section -137
Programme La Seine -138
Cultural Events Ofhce -138
Mdiathque -138
International Relations Ofhce -138
Scientihc and cultural development
department -138
Collections Service -138
cole des Beaux-Arts Publications -138
Exhibitions -138
Public relations, sponsorship, partnerships -139
General administration ofhce -139
Maintenance -139
Logistics, safety and security -139
Computer services -139
Faculty Proles -141
Calendar
and schedules -177
Missions
8 Presentation of the cole Nationale Suprieure des Beaux-Arts
The cole Nationale Suprieure des Beaux-Arts,
located across the Seine from the Muse du
Louvre in the heart of Saint-Germain-des-Prs,
is heir to the Acadmie Royale de Peinture et de
Sculpture, founded in the J7
th
century by Louis XIV.
History, long preserved state art collections and
contemporary artistic creation come together in
this institution, which occupies an essential place
on the world stage of art and culture.
The cole is overseen by the French Ministry of Culture
and Communication. Its hrst mission is to educate
and train students planning to devote themselves
to high-level artistic creation. The schools hve-year
course of study and practice provides students with
the fundamental elements they need to develop and
sustain their personal artistic undertakings, and a full
understanding of what is at issue in making art today.
Education and training are organized around work
in artistic practice studios run by renowned artists.
Transdisciplinarity, practice diversity, multiple helds of
experimentation and free movement among different
approaches and specialization areas are encouraged.
The school delivers two consecutive degrees: the
hrst-cycle degree, upon successful completion of
the three-year hrst cycle of study, and the Diplme
National Suprieur dArts Plastiques (DNSAP), after
successful completion of two additional years called
the second cycle. In 2006-2007, the coles study
program was aligned with the European Union system
of hrst and second-cycle qualihcation, and the school
dehned its curricula according to the European Credit
Transfer System (ECTS).
In 2009, hve of the coles technical skills studios-
ceramics, forging, composite materials mosaics
and stonecutting-woodcutting-were opened in
a building leased to crafts, arts and technology
companies in the center of the renowned antiques
market district of Saint-Ouen, just outside Paris.
For students who have successfully completed
the second cycle or equivalent, there are ten to
twelve places in the coles two-year Programme
La Seine, open to young artists of all nationalities.
This program provides selected candidates already
engaged in personal artistic work with experimental
and critical means for further development.
Beaux-Arts students beneht from a particularly
active international exchange policy: the cole has
exchange agreements with more than 50 foreign art
schools across the hve continents, and each year
several studio trips are organized in connection with
original artistic projects designed in relation to
specihc partner schools (see p. J26). Nearly a fourth
of Beaux-Arts students are of foreign nationality.
The Mdiathque, located on the hrst foor of the
Palais des tudes, offers students 45 000 directly
accessible works as well as DVDs, videos, audio
CDs and cassettes and electronic documents. The
extremely varied research resources available to
students are continually updated and students are
provided with an exceptional study environment
(see p. J25).
The cole offers a schedule of cultural events
encompassing all artistic disciplines and dovetailing
with courses and life at the school. A full program
of encounters, seminars, workshops, screenings
and debates puts students in active contact with
contemporary creation and art world issues (see
p. J24).
The Beaux-Arts conserves a prestigious inheritance of
books and iconographic and morphology collections
linked to its history. First assembled by the royal
academies, these collections were further developed
by means of cole competitions, as well as prize
series, paintings, sculpture and architectural
drawings arriving from the Acadmie de France
in Rome. Since the second half of the nineteenth
century, the collections have been further enriched by
many gifts and donations. These collections remain
a fundamental resource for teaching and study at
the cole, and for the students who examine, draw
from and photograph them, they are a continual
source of questioning and reinterpretation.
Every year a number of exhibitions are held in
the Salle Foch and the Salle Melpomne on the
Quai Malaquais and in the chapel of the Petits-
Augustins. Exhibitions of Collection pieces enable
the public to discover the coles inheritance, and
there is an annual exhibition of works by honors
graduates, as well as a series of exhibitions devoted
to young contemporary French and international
artistic creation. The Communication and Exhibitions
Ofhce also provides logistic support for studio course
exhibition projects and others, often organized in
collaboration with outside institutions.
The cole des Beaux-Arts Publications Ofhce publishes
approximately 20 works a year in various series-
"crits dartistes, "Dart en questions, "Beaux-arts
histoire, "Principes et thories de lhistoire de
lart, "Catalogues dexposition et guides-and
in the "Ateliers series, which publishes works on
cole student studio exhibitions and travels.
Thanks to the missions and services that
constitute the coles vocation, and to its unique
historical site, students enjoy and beneht from an
exceptionally rich cultural and artistic environment.

Presentation of the cole Nationale Suprieure des Beaux-Arts 9
Todays cole des Beaux-Arts is a vast complex
spreading over an area of more than two hectares
between the rue Bonaparte and the Quai Malaquais.
Most of the buildings date from the J7
th
to the J9
th

centuries; some are from the 20
th
.
The Acadmie Royale de Peinture et de Sculpture,
founded by Cardinal Mazarin in J648, was abolished
by the Convention in J793. The authorities main-
tained the cole Acadmique and the Acadmie
dArchitecture, however, and under Napoleon the
two became a single institution: the cole des
Beaux-Arts. The cole was successively installed
in the Louvre, the Collge des Quatre Nations in
the rue Mazarine, and ultimately, in J829, in the
rue Bonaparte on the site of a former Augustinian
monastery, the Petits-Augustins.
The oldest buildings are the chapel and its annexes,
erected in the early J7
th
century as part of the
monastery. During the French Revolution and the
Napoleonic era, the architect Alexandre Lenoir
(J76J-J839) converted the premises into the
Muse des Monuments Franais, a museum with
several extraordinary works of French sculpture.
When the museum was closed in J8J6, the
buildings were allotted to the cole des Beaux-Arts.
The architect Franois Debret (J777-J850) was
subsequently commissioned to design additional
buildings. He hrst constructed the Btiment des
Loges, an essential facility for competitions, then
began work on the Palais des tudes. Debret was
succeeded by his pupil and brother-in-law Flix
Duban (J797-J872), who continued the Palais des
tudes and the exhibition building overlooking the
Quai Malaquais (Salle Melpomne and Salle Foch).
He also redesigned the entrance courtyards on
the rue Bonaparte side, the chapel, and what had
been the monastery cloister (Cour du Mrier).
In some cases Duban re-used quite disparate
architectural and decorative elements that had
remained in place after the Muse des Monuments
Franais was closed and its collections dispersed,
thereby endowing the whole with an undeniable
esthetic unity.
In J883, in what was to be its last extension,
the cole acquired the Htel de Chimay and
its outbuildings, dating from the J7
th
and J8
th

centuries, located at J5 and J7 Quai Malaquais.
History and architecture The Collections
The cole conserves several prestigious collections
linked to the history of the institution. The cole
inherited the Royal Academy collections, later
amplihed by cole competitions, painting, sculpture
and architectural drawings from the Acadmie de
France in Rome and, since the mid-nineteenth
century, numerous gifts and donations.
Open to researchers at Masters degree level or
higher, and to others by special permission, the
Collections Service (Salle Lesoufach) today
preserves J20,000 works from the sixteenth to
the twentieth centuries (including 700 incunabula,
or early printed books, most from the Masson
donation) on the teaching of architecture, painting,
sculpture, drawing and engraving. The architecture
section is particularly rich, including works on
architectural theory and history, town planning,
construction techniques and building typology,
also some 40,000 architectural drawings.
The remarkable drawing collection, with its J5,000
works representing principally the French, Italian
and Northern schools, is second in size only to
that of the Louvre and includes a number of truly
exceptional pieces.
In addition, the Collections contain roughly J00,000
prints from the sixteenth to nineteenth centuries,
some 70,000 photographs dating mainly from J850
to J9J4, approximately J,000 manuscripts from the
archives of the Acadmie de Peinture et de Sculpture
and 300 medieval illuminated manuscripts.
The painting and sculpture collection of approximately
3,000 pieces comprises cole student works,
works by winners of the Prix de Rome and other
competitions dating from the early eighteenth
century to J968, and a number of works from the
former academies.
The morphology department collection, whose
oldest works are from the Acadmie Royale, has
grown steadily since the mid-eighteenth century.
Most of it is kept in the Galerie de Morphologie,
opened in J869 by Huguier. It contains several
thousand objects: skeletons, mummies, casts
from dissections, animal taxidermy specimens,
wax anatomical models and corchs, including
Jean-Antoine Houdons famous corch in bronze.
It also has thousands of drawings, and above all
photographs, some done at the cole, such as
those by Paul Richer, others donated expressly
for teaching purposes, such as the albums of
Duchenne de Boulogne.
10 Presentation of the cole Nationale Suprieure des Beaux-Arts
In January 2005, thanks to the generous patronage
of the collector Jean Bonna, the Collections Service
opened a new drawing exhibition room which
features regular exhibitions. The Cabinet de Dessins
Jean Bonna is open every afternoon Monday to
Friday J-5 pm.
The Collections remain a vital component of
teaching and study at the cole. Far from being
frozen in time or used merely to reproduce past
accomplishments, they furnish ample material for
thought and practice for several cole studios and
courses. For the students who study, examine, draw
from and photograph them, they are a continual
source of questioning and reinterpretation.
Presentation of the cole Nationale Suprieure des Beaux-Arts 11
Cap Saint-Ouen
studios
In March 2009, hve of the Technical Skills
studios-ceramics, forging, composite materials,
mosaics and stonecutting-woodcutting-were
opened at Cap Saint-Ouen, a building leased to
crafts, arts and technology companies in the heart
of the renowned antiques market district of the
city of Saint-Ouen, just outside Paris.
The studios concerned are all fundamental
disciplines indispensable to the rich variety of
contemporary artistic creation.
Saint-Ouen municipal ofhcials, committed to
making artistic and cultural practices an integral
part of their city life, have enabled the cole
to install these studios in a space of more than
800 square meters made available on highly
advantageous terms by the Semiso (Socit
dconomie Mixte de Saint-Ouen), thereby
offering Beaux-Arts students the opportunity to
study and practice the techniques in well-adapted
and equipped spaces within a professional urban
environment favorable to artistic creation.
Professors:
Gtz Arndt, stonecutting-woodcutting
Fabrice Vannier, mosaics
Teaching technicians:
Serge Agoston, composite materials
Claude Dumas, ceramics
Carole Leroy, forging
Cap Saint-Ouen
5, rue Paul Bert
93406 Saint-Ouen
Layout p. J9J
Since J984 (pursuant to government decree
84-968 of October 26, J984) the cole has been
a state public institution overseen by the French
Ministry of Culture and Communication.
The Conseil dAdministration (administrative board)
votes on budget and general policy directions. Its
decisions are binding. The council is made up of:
- 4 representatives of the Minister in charge of
culture;
- the director of the Muse National dArt Moderne
du Centre Pompidou or his/her appointed
representative;
- 7 distinguished hgures appointed by the
Minister in charge of culture for their particular
competence;
- 6 elected cole faculty representatives; 3 elected
representatives of administrative, technical,
security and service personnel and 3 elected
student representatives.
The Conseil Pdagogique (educational board)
advises the Director in educational matters. It is
a advisory body that assesses how new teaching
posts or those soon to fall vacant should be
distributed among the various disciplines taught
at the cole, for example. It is also consulted for
composition of the examining committees who
draw up the years entrance examinations. The
Conseil Pdagogique meets at least twice a year.
There are 20 members: the Director of the
cole des Beaux-Arts, 2 members appointed by
the Director, J5 elected faculty members and 3
student representatives.
The ministerial order of April 28
th
2008 ruling
admission and the sudies at the cole Nationale
Suprieure des Beaux-Arts, dehnes the outline for
the courses of study. It is complemented yearly
by the studies and examinations regulation.
The Rglement Intrieur (internal regulations)
governs operation of the establishment. All
students admitted to the cole receive a copy of
the Rglement and sign a statement that they
have taken cognizance thereof.
Administration
information
Facts and gures
2009-2010
Budget 2010
C J0.09 million, including C 584 000 for investment.
Permanent staff: J85.
The cole teaching staff is made up of 5J teachers
under contract, 4 permanent cole suprieure
dart professors, and 23 regular outside teachers
or participants, J2 in foreign languages. Another
J00 participants intervene occasionally in teaching
activities.
Student body in 2009 -2010
Registered students: 530
Women: 307 (57.92 %)
Men: 223 (42.08 %)
French students: 430 (8J.J3 %)
Foreign students: J00 (J8.87 %).
Admissions in 2009-2010
77 J
st
-year students and 47 transfer students.
Graduates in 2009
First-cycle: J07 candidates, 87 passed
Second-cycle: J04 candidates, J03 passed, inclu-
ding 2J with unanimous congratulations from the
jury.
Entrance examination results
for school year 2010-2011
69 students admitted in J
st
year, 2 on condition of
obtaining the baccalaurat or equivalent.
A total of 6J transfer students admitted: 23 in 2
nd

year, JJ in 2
nd
or 3
rd
year if awarded the DNAP or
BTS in June 20J0, 23 in 3
rd
year, 4 in 4
th
year.
Admission
requirements
14 Admission requirements
1
st
-year admission
Admission requirements and procedures are now
determined by a new set of ministry-established
administrative regulations for admission and
study organization at the cole dated April 28,
2008, along with previously determined study and
examination regulations.
Applicants are admitted to the cole Nationale
Suprieure des Beaux-Arts either as J
st
-year
students or transfer students. Both types of
applicants are evaluated according to a two-step
process: admissibility and hnal selection.
Students must enroll for their hnal selection exams.
Enrollment and examination dates are determined
by the Director and are available every year on
the coles internet site at the beginning of the
J
st
semester.
No candidate for admission may apply more than
twice.
J
st
-year applicants must be between J8 and 24
years of age on October J of the year they are
applying. They must have the baccalaurat high
school leaving degree or approved equivalent. The
Director has discretion to declare admissible an
applicant who does not meet this requirement, if
an advisory commission has ruled in favor of doing
so. The Director determines the composition and
operating mode of this commission.
Admissibility
All J
st
-year applicants must submit a duly completed
application form and a portfolio containing originals
of their own creative work. For large-scale or bulky
works, applicants are required to submit highly
representative photographs (no slides). Drawings
must be originals, and videos must be in either DVD
or VHS format.
Final selection
In the hnal selection process admissible applicants
are evaluated in 3 areas:
- a test of drawing skills;
- a written test of cultural knowledge and analytic
skills. Applicants are asked to write a commentary
that demonstrates not only their ability to interpret
and invent but also the extent of their knowledge;
- presentation of a portfolio of original work, followed
by an individual interview with the admissions
committee in which applicant is questioned on his
or her creative work and particular helds of artistic
interest.
Admissions committee decisions are hnal.
Procedures
Application forms are available at the Accueil scolarit
(Registrars Ofhce). The completed form must be
sent or delivered to the same ofhce, together with
a portfolio containing approximately 20 personal
works, and an application fee, payable by check only.
The fee is determined every year by administrative
order. For 2009 the amount was 49 C.
NB: Incomplete or late applications, and applications
that would in any way involve expense for the cole
are automatically disqualihed.
Admission requirements 15
Admission
as a transfer student
Foreign students
To be eligible for admission as a transfer student,
applicants must be between 20 and 26 years of
age on October J of the year they are applying.
At the time they submit their application, they
must be able to certify that they have successfully
completed at least two years of higher education.
For applicants with at least 24 consecutive months
of certihable professsional experience, the Director
may make an exception to the degree requirement,
if an advisory commission has ruled in favor of
doing so. The Director determines the composition
and operating mode of this commission.
The admissions procedure for transfer applicants is
a two-step process: admissibility and hnal selection.
Admissibility
All transfer applicants must submit a duly completed
application form and a portfolio containing originals
of their own creative work. For large-scale or bulky
works, applicants are required to submit highly
representative photographs (no slides). Drawings
must be originals, and videos must be in either
DVD or VHS format.
Final selection
Admissible applicants present a portfolio of their
original works and are individually interviewed by
the admissions committee, who question them on
their creative work and particular helds of artistic
interest.
Admissions committee decisions are hnal. The
committee also determines the level of studies at
which the transfer student is to be admitted and
any Course Units (CUs) to be made up.
Procedures
Application forms are available at the Accueil scolarit
(Registrars Ofhce). The completed form must be
sent or delivered to the same ofhce, together with
a portfolio containing approximately 20 personal
works, and an application fee, payable by check only.
The fee is determined every year by administrative
order. For 2009 the amount was 49 C.
NB: Incomplete or late applications, and applications
that would in any way involve expense for the cole
are automatically disqualihed.
Applicants of foreign nationality are subject to the
same application requirements and procedures as
French students.
Certihed French translations of all foreign-language
documents must be provided.
Applicants must have a strong command of French
and are requested to furnish proof thereof; e.g.,
certihcates to that effect. Prohciency in French will
be assessed by the admissions committee in the
course of the admission interview.
The entrance examination is the sole means of being
admitted to study at the cole des Beaux-Arts.
Professional training periods and temporary
enrollment are permitted solely under ofhcial
arrangements between the cole and the schools
it has signed exchange agreements with.
Registration
and re-registration
16 Admission requirements
Auditing
Every year before the end of September, new
students and continuing students receive regi-
stration forms, which they must complete and
return with payment of the tuition fee.
To continue studying at the cole, students must
have obtained the compulsory Course Units (CUs)
for the preceding semester(s) and studio professors
approval. For students who do not meet these con-
ditions, the Director may choose to reconsider after
consultation with the re-registration committee.
Students may request a leave of absence in case
of illness or pregnancy or for professional or
personal reasons of a serious nature. Whatever
the circumstances, the request must be submitted
to the head of the Service de la vie scolaire
(Scholastic Affairs Ofhce) together with adequate
supporting documents. The intended duration of
leave must be clearly stated and may not exceed
one year. Students who fail to comply with these
requirements will no longer be permitted to
register.
Theoretical Study Department courses may be
audited subject to permission from the Director
and available space. Accepted auditors will be
charged a fee of 200 C.
Auditors are not awarded certihcates for course
attendance and do not have access to the
studios.
Information is available at the Accueil scolarit
(Registrars Ofhce).
Admission requirements 17
Classes for adults
The cole Nationale Suprieure des Beaux-Arts
offers year-round, paying courses in drawing and
painting for anyone over age J6.
There is also a July summer school program, offering
an introduction to contemporary art and modeling
classes.
Classes at all levels are conducted by experienced
teachers.
Information and enrollment:
Htel de Chimay, Service de la vie scolaire
(Scholastic Affairs Ofhce), Bureau des cours pour
adultes (Adult Classes)
Contact: Sylvie Lescout
Tel: 0J 47 03 50 63
courspouradultes@beauxartsparis.fr
Obtaining an ENSBA degree through Valida-
tion des acquis de lexprience (certication
of skills, aptitudes and knowledge acquired
through experience)
As stipulated by Decree 2004-607 of June 2J,
2004, which extends the authority to apply De-
cree 2002-6J5 (April 2002) to the ministry in
charge of culture, the degrees conferred by the
cole Nationale Suprieure des Beaux-Arts-i.e.,
the Jst-cycle degree and the Diplme National
Suprieur des Arts Plastiques (DNSAP)-may be
obtained by way of the Validation des acquis de
lexprience process.
Applications to obtain one of these degrees through
this process must be sent to the Director of the
cole Nationale Suprieure des Beaux-Arts in
accordance with the schedule he has determined.
After consultation with an educational advisor, the
Director forms a jury that he presides; the other
jury members are the Associate Director and Dean
of Studies, two cole professors, and two qualihed
outside representatives of the art professions, one
an employer, the other an employee.
The jury examines whether the candidates skills,
aptitudes and knowledge satisfy the requirements
for the degree being applied for. Candidates are
evaluated on the basis of their Validation des
acquis de lexprience (VAE) application hle, a
presentation of their art work, and an interview.
The jury decides either to confer the degree or to
refuse validation.
The VAE application fee is established every aca-
demic year through a joint order from the ministry
in charge of culture and the state budget ofhce.
This fee covers administrative costs, jury fees and
follow-up costs.
The 20J0 application fee was set at 780 C. Can-
didates are required to pay 80C when submitting
their application and an additional 700 C if their
application is accepted for examination by the
jury.
For candidates whose application has been accep-
ted for jury examination and who demonstrate
inability to obtain third-party hnancial aid for the
validation process (aid from an organization, busi-
ness or local government ofhce), the Director may
lower the remaining fee from 700 C to 350 C.
Contact: Evren Adanir, Service de la vie scolaire
(Scolastic Affairs Ofhce)
evren.adanir@beauxartsparis.fr
Validation des acquis
de l'exprience
Curriculum organization 21 20 European Credit Transfer System (ECTS)
Consistent with its project of creating an open
European space of higher education and training,
European Union authorities are promoting
cooperation and exchange among higher education
institutions within the EU and have implemented
a system for making study programs in those
institutions easy to compare from one institution
to another across Europe. This system, called the
European Credit Transfer System (ECTS), makes
curricula and students academic itineraries
intelligible at the EU international level thanks to
common instruments such as the study program,
credits and the learning agreement.
The ECTS system is characterized by the following
points:
- It is focused on the work that students
accomplish to achieve the objectives of the
study program, dehned in terms of learning
outcomes and competences to be acquired,
- It has no effect on the content of study and
training programs offered, but rather provides
a unit, the credit, for measuring the student
workload; i.e., the amount of work that students
are expected to do for each course,
- J credit represents 25 to 30 hours of student
work (including attending courses, practicing
technical skills, artistic experimentation, library
research, etc.),
- J year of study = 60 credits. The J
st
cycle =
3 years of study = J80 credits; the 2
nd
cycle =
2 years of study = J20 credits,
- Each year of study is made up of 2 semesters:
J semester = 30 credits,
- Each Course Unit (CU, UC in French) corresponds
to one semester-long course and is worth a
certain number of credits,
- Course Units are described in terms of objectives,
content and methods, how students are to be
assessed in that course, and how many credits
each CU is worth,
- Students are granted credits by the professor
or teaching team that assesses their acquisition
of the learning outcomes and skills taught in the
given CU,
- A cycle is completed when students have
earned all the credits that the course program
for that cycle requires.
In 2006-2007, the cole implemented the ECTS
system currently being adopted by all higher
learning institutions across the European Union.
This change is preliminary to the coles complete
alignment with the European Union higher
education degree system known as BMD (LMD in
French)-Bachelors (Licence), Masters, Doctoral
degrees-wherein the Bachelors (Licence) is
obtained after a 3-year cycle of study, the Masters
after an additional 2-year cycle, and the Doctorate
after a further 3-year cycle.
The cole offers a 5-year program of study divided
into two consecutive "cycles, the hrst lasting 3 years,
the second 2 years.
As of academic year 2006-2007, all courses are
semester courses.
For detailed Course Unit (CU) descriptions, including
objectives, content and methods, modes of
assessing students, and number of credits (ECTS)
for each course, see Course Catalogue, pp. 29-
JJ2.
The DNSAP requires 5 years of study. This
period can be prolonged for a maximum of one
year if students request is approved by the re-
registration commission.
Study curriculum and scholastic requirements
are now determined by a new set of ministry-
established regulations for the cole dated April
28, 2008, in addition to the Rglement for studies
and examinations made available at the start of
each academic year.
European Credit Transfer
System (ECTS)
Curriculum organization
22 Curriculum organization Curriculum organization 23
The First Cycle 1
st
-cycle curriculum
The objective of the J
st
-cycle-3 years of study-is
for students to learn to master the fundamental
theoretical and technical tools of artistic creation
and to dehne an individual long-term artistic
undertaking and project.
The three-year 1
st
-cycle curriculum
is organized as shown in the Chart, p. 23.
During their J
st
year of study, students are guided
and supervised by a faculty team of three professors:
Franois Boisrond, Didier Semin and Patrick Tosani.
In the J
st
year of study, students must earn at
least the following J0 CUs (= 60 credits):
- the CUs for Studios J and 2
- 2 theoretical study CUs
- 2 drawing CUs which must be the 2 parts of a
single year-long course
- the 2 hrst-year computer technology CUs: art
and digital technology tools, desktop publishing
- 2 language CUs.
In the 2
nd
least the following J0 CUs (= 60 credits):
- the CUs for Studios 3 and 4
- 2 technical skills CUs
- 2 drawing CUs which must be the 2 parts of a
single year-long course
- 2 language CUs.
In the 3
rd
least the following 7 CUs (= 60 credits):
- 2 technical skills CUs or J technical skills CU and
J professional training period CU
- J language CU.
In June of the 3
rd
year of study, i.e., at the end
of the 6
th
semester, students take the J
st
-cycle
degree examination. Being awarded the degree
validates the Studio 6 CU.
To be eligible to take the J
st
-cycle degree exami-
nation, students must have earned the following
26 CUs for the 6 semesters:
the 5 CUs for Studios J, 2, 3, 4 and 5; 4 drawing
CUs in J
st
and 2
nd
years; the 2 hrst-year computer
technology CUs; 6 theoretical study CUs; 4
technical skills CUs or 3 technical skills CUs and J
professional training period CU; 5 language CUs.

1
st
-cycle degree
The decision to award the J
st
-cycle degree is based
on a review of students scholastic itinerary and
performance, presentation of a selection of art
works representative of students artistic work over
the hrst three years of study, and the examining
committees interview with the student.
The examining committee for this degree is
composed of an cole faculty member and two
outside examiners.
Obtaining the degree validates the Studio 6 CU.
Students who do not obtain the degree receive a
certihcate of studies.
1
st
year 1
st
semester Credits 2
nd
semester Credits
Studio J CU J0 Studio 2 CU J0
Drawing CU 6 Drawing CU 6
Art and digital technology
tools CU
6 Desktop publishing CU 6
Theoretical study CU 6 Theoretical study CU 6
Language CU 2 Language CU 2
Total 30 Total 30
2
nd
year 3
rd
semester Credits 4
th
semester Credits
Studio 3 CU J0 Studio 4 CU J0
Drawing CU 6 Drawing CU 6
Technical skills CU 6 Technical skills CU 6
Language CU 2 Language CU 2
Total 30 Total 30
3
rd
year 5
th
semester Credits 6
th
semester Credits
Studio 5 CU J5 Studio 6 CU
Degree preparation and examination
J8
Technical skills CU or Profes-
sional training period CU
6 Technical skills CU or Professional
training period CU
6
Language CU 3
Total 30 Total 30
Studio CUs: pp. 32-46
Drawing CUs: pp. 38-43
Technical skills CUs: pp. 62-74
Theoretical study CUs: pp. 76-88
Language CUs: pp. 90-J0J
24 Curriculum organization Curriculum organization 25
2
nd
-cycle curriculum
Students are admitted to the 4
th
year of study after
obtention of the J
st
-cycle degree and Directors
approval on the basis of a favorable recommenda-
tion by a faculty commission.
During the two years of the 2
nd
cycle, students
prepare the Diplme National Suprieur dArts
Plastiques (DNSAP). The cycle includes a move
into the outside world in 4
th
year, either in the
form of a professional internship or participation in
a study abroad program, and a seminar in 5
th
year.
During these 2 years, students further develop
their theoretical knowledge by developing a
research project and writing it up as a research
paper, which they defend to a jury in their 5
th
year,
and by taking a year-long seminar in their 5
th
year
that will complement their own artistic work. The
2
nd
cycle culminates in the degree examination for
obtention of the Diplme National Suprieur dArts
Plastiques (DNSAP).
The two-year 2
nd
-cycle curriculum
is organized as shown in the Chart, p. 25.
4
th
-year students spend either their 7
th
or 8
th
semester
outside the cole, doing either a professional
internship or a study abroad program. During the
other semester of that year they continue their
studies in the cole.
4
th
-year students must earn the following 6 CUs
(= 60 credits):
- J professional internship or study abroad CU
- J research CU
- J language CU
- J elective CU (of students choice), either
theoretical study or technical skills.
5
th
-year students take a seminar and prepare to
take the DNSAP hnal degree. They defend their
research paper and take the degree examination
during the 5
th
year.
5
th
-year students must earn the following 6 CUs
(= 60 credits):
- the CUs for Studios 9 and J0
- J research CU
- the 2 seminar CUs
- J language CU.
To be eligible to take the DNSAP degree examina-
tion, students must have earned the following JJ
2
nd
-cycle CUs by the end of their 5
th
year:
the 3 CUs for Studios 7, 8 and 9; the professional
internship or study abroad CU; 2 research CUs; 2
language CUs; J elective CU (theoretical study or
technical skills); the 2 seminar CUs.
The Diplme National Suprieur
d'Arts Plastiques (DNSAP)
The examining committee is composed of hve
members: four outside examiners appointed by
the Director of the cole and one cole faculty
member chosen by the student candidate.
Obtaining the degree validates the Studio J0 CU.
Honors: the DNSAP may be awarded with honors
by either a unanimous or majority vote of the
examining committee.
Students who do not obtain the degree may pass
the examination a second time, at most J year
later, and providing they do not exceed the 6-year
limit of study at the cole.
Students who are not awarded the degree will be
issued a certihcate of studies.
4
th
year 7
th
or 8
th
semester Credits 7
th
or 8
th
semester Credits
Studio 7 or 8 CU J0 Studio 7 or 8 CU J5
Professional intership CU or
study abroad CU
20 Research CU
methodology and stage report
6
Elective CU 6
Language CU 3
Total 30 Total 30
5
th
year 9
th
semester Credits 10
th
semester Credits
Studio 9 CU J2 Studio J0 CU
Degree preparation and examination
25
Seminar CU 9 Seminar CU 5
Research CU
research paper and defence
6
Language CU 3
Total 30 Total 30
Studio CUs: pp. 3J-36
Professional intership CU or study abroad CU: p. J05
Research CUs: p. 90
Seminar CUs: pp. J09-JJ4
Language CUs: pp. 9J-J04
DNSAP equivalency
26 Curriculum organization
Post-graduate year
The DNSAP is recognized for purposes of admission
to the following institutions:
- Universit Paris J
UFR darts plastiques et sciences de lart
J67 rue Saint-Charles, 750J5 Paris.
- Universit Paris VIII
Dpartement darts plastiques
2 rue de la Libert, 93200 Saint-Denis.
- cole Nationale Suprieure des Arts Dcoratifs
3J rue dUlm, 75005 Paris.
- cole Nationale Suprieure de Cration Industrielle /
Les Ateliers
48 rue Saint-Sabin, 750JJ Paris.
- All French architecture schools.
Student applicants should request an equivalency
rating from the relevant ofhce of the university or
institution.
The DNSAP is registered with the Rpertoire
National des Certihcations Professionnelles as a
Level I degree pursuant to the French government
decree of February 23, 2007.
DNSAP holders are eligible to take the CAPES,
CAPET and Agrgation competitive examinations.
To attend preparatory courses for the CAPES
examination, contact the IUFM, J0 rue Molitor,
750J6 Paris.
Graduates with a DNSAP may enroll for a supple-
mentary year of study at the cole des Beaux-Arts
by express written request and subject to avail-
able capacity as determined by the Director.
The post-graduate year is conceived as a period
of transition between end of studies and entry
into professional life. In 20J0-20JJ, the cole will
be offering a few specialized training programs in
partnership with other higher education institu-
tions. These programs will be furthered structured
and developed in the years to come. The aim is to
help graduates become professionally integrated
while consolidating their fundamental acquisi-
tions.
A seminar entitled La Vie tumulueuse des uvres
dart contemporain, organized in collaboration
with the cole du Louvre, will offer training in the
areas of source material and archiving as well as
conservation and restoration of contemporary
art.
Enrollment requirements, program, and dates
available at the start of the academic year.
In the second semester, post-graduate year stu-
dents may partake in a seminar organized with
the cole Normale Suprieure involving exchanges
between history of art students at the ENS and
cole des Beaux-Arts students on works in the
cole collection and by young artists. Enrollment
requirements, program and dates available at the
start of the academic year.
In 20J0-20JJ, thanks to the patronage of the
Fondations Edmond de Rothschild, in partnership
with the City of Saint-Ouen and the Inspection de
lducation Nationale, the cole is launching an
experimental year-long program in which three
selected artists will carry out projects with ele-
mentary and middle school pupils in Saint-Ouen
schools. In September 20J0, an expert jury will
select three cole graduates with the DNSAP
(awarded in 2007, 2008, or 2009); the winners will
be awarded a grant from the Fondations Edmond
de Rothschild that will cover their living expenses
for one year. Successful participation in the pro-
gram will also earn the artist a new degree.
This program may be further developed in years to
come, depending on the results of this pilot year.
Curriculum organization 27
How Course Unit (CU)
assessment is organized
Students must register each semester with
the Accueil scolarit (Registrar's Ofce),
on the dates scheduled in the academic
calendar, for assessment of each CU taken in
that semester of study.
For some CUs, a make-up assessment session
will be scheduled in September for missed course
assessment deadlines. Students must register
with the Accueil scolarit in June 20J0 for the
September make-up session for academic year
20J0-20JJ.
See course descriptions for details of how CUs
are assessed. Regular attendance is always a
component of student assessment, and in most
courses students are assessed on an ongoing
basis; i.e., regularly throughout the semester. It
is crucial for students to read course descriptions
attentively and be aware of how they will be
assessed for each course they take.
All post-graduate year students are urged to at-
tend the series of "Vie professionnelle lectures
included in the Cultural Events program. They are
likewise encouraged to do outside professional
training programs or internships during the year
and will be given assistance in hnding them.
Post-graduate year students may not enroll in stu-
dio or technical skills courses but may continue to
use Mdiathque facilities and attend theoretical
study courses, subject to capacity.
Post-graduate year applications must be submit-
ted before the start of the academic year.
The post-graduate year must immediately follow
the year in which student obtained the DNSAP,
except for candidates selected to work in the
elementary or middle-school program.
Course Catalogue
30 Course Catalogue
The cole Nationale Suprieure des Beaux-Arts
provides education and training of a high academic
and technical standard to students planning to
develop a career in the visual arts. The hve-year
curriculum is made up of two consecutive "cycles,
the hrst lasting three years and the second two
years, in which students learn and progress in the
fundamental practical and theoretical components
of artistic creation while acquiring in-depth
understanding of what is involved in making art
today.
Education and training are structured around
artistic practice studios run by renowned artists.
The work students do in these studios is a
central, fundamental component of the program.
Studios favor practice diversity, multiple helds
of experimentation and crossdisciplinary artistic
development.
Drawing is conceived as a basic practice essential
and complementary to studio practice. Drawing
classes are compulsory for hrst and second-year
students. Students choose two different year-long
drawing courses from among the six offered by
the Drawing Section.
In their second year, students begin Technical
Skills courses, chosen in connection with the art
practice each intends to specialize in. Technical
skills Course Units (CUs; UC in French) are
earned through courses in the Technical Skills
Department, the Printmaking-Bookmaking Section
and the Digital Technologies Section. Considerable
emphasis is placed on the new technologies, a
fundamental component of artistic creation and
diffusion today.
Theoretical courses provide an indispensable
foundation for student training and are taken
regularly. During the J
st
cycle, students are free
to choose these courses and the order in which
they take them. During the 2
nd
cycle, they learn
research skills, write a theoretical research paper
and defend the paper to a jury.
Foreign language study has been an integral part
of the program since 2006.
Study and training outside the cole are also a
compulsory component of the program. In their
fourth year, students do either a professional
internship or a study abroad program.
In their hfth year, students take specihc seminars
to prepare for the Diplme National Suprieur
dArts Plastiques (DNSAP).
All courses presented in the following section
are one semester long and each represents
one Course Unit (CU).
cole courses are organized into 9 different
departments, sections or types:
- Artistic Practice Department
- Drawing Section
- Printmaking-Bookmaking Section
- Digital Technologies Section
- Technical Skills Department
- Theoretical Study Department
- Language Department
- Study and training outside the cole
- 5
th
-year seminars.
Artistic Practice Department 31
The Artistic Practice Department is made up
of 27 studios run by cole faculty members,
all renowned artists. The studio is a space for
practice, experimentation, creation; also for
debate, exchange and critique. And at certain
moments of the year-student evaluations and
graduation-it becomes an exhibition space.
Students must enroll in an Artistic Practice
studio each and every semester. First-year and
other new students are encouraged to meet with
several studio artist-professors at the beginning
of the school year before choosing their studio,
with studio professors agreement. Students may
remain in the same studio throughout the hve
years or change studios depending on the direction
their work is taking and with the agreement of the
professors in charge.
The studio is both a physical and mental space
for art training. Students of all levels-hrst to
hfth year-cohabit in it, usually practicing pluri-
disciplinary creation techniques. Studio teaching
methods combine personalized attention and the
collective dimension of exchange; the aim is to
foster students individual commitment to their art
by helping them gradually to construct a personal
artistic language. Theoretical, critical and technical
knowledge and know-how intersect and mutually
enrich students art work while helping each to situate
himself or herself within a network of meanings
and interpretations.
Interstudio relations are developed through joint
temporary hangings and critique sessions, which
increase opportunities for dialogue and nourish
students thinking. Often studio professors invite
other artists to the studio. Studio groups may also
travel abroad, usually to one of the coles partner
art schools. Studio professors also organize
conferences and develop collective exhibition
projects in collaboration with other institutions.
These experiences give students opportunities to
tackle the matters of positioning their creations in
space, communication, diffusion and publication.
Studio professors
Jean-Michel Alberola
Vincent Barr
Dominique Belloir
Franois Boisrond
Tania Bruguera
Marie-Jos Burki (coordinator)
Jean-Marc Bustamante
Elsa Cayo
Claude Closky
Philippe Cogne
Patrick Faigenbaum
Sylvie Fanchon (coordinator)
Dominique Figarella
Michel Franois
Dominique Gauthier
Tadashi Kawamata
Guillaume Paris
Marc Pataut
Giuseppe Penone
Bernard Piffaretti
ric Poitevin
James Rielly
Anne Rochette
Emmanuel Saulnier (coordinator)
Djamel Tatah
Patrick Tosani
Jean-Luc Vilmouth
Course Units (CUs)
CU Studio J to CU Studio J0
Artistic Practice
Department
CU Studio 1
32 Course Catalogue
CU Studio 2
TAUGHT BY
1
st
-year faculty teamFranois Boisrond,
Didier Semin, Patrick Tosanijointly with
studio professor
OBJECTIVES
To facilitate and accompany students hrst moves
toward a personal approach. To help ensure
students successful orientation and integration
into the chosen studio.
CONTENT AND METHODS
When students arrive at the cole, they are invited
to visit several studios and to choose one with the
agreement of the artist-professor in charge-the
studio professor-who then accompanies them
as each begins to outline a personal undertaking
and approach, helping them specify directions and
orientations discernible in their previous work.
Meanwhile the J
st
-year faculty team ensures that
these young students (who have just completed
secondary school) become integrated into the
cole, understand how it works, and become
familiar with higher education teaching methods.
Faculty team members are available to answer
new students questions about courses and life at
the cole.
ASSESSMENT
Students meet individually with J
st
-year faculty
team and present their art works. Assessment
is on the basis of the following three criteria:
students integration into the cole, quality of
students individual work, and students openness
to the world of the arts and culture (museum and
exhibition visits, etc.).
Year of study: J
Semester of study: J
Prerequisite: none
Schedule: see pp. J78 and J86
Hours of student work: 280 hours
Credits: J0
CU code: J00J0
TAUGHT BY
Studio professor and the 1
st
-year faculty
team: Franois Boisrond, Didier Semin,
Patrick Tosani
OBJECTIVES
At the end of the 2
nd
semester, students need to
have used their newly acquired knowledge and
know-how to begin to test their personal artistic
concerns.
CONTENT AND METHODS
Through collective critique sessions and individual
meetings with the studio professor in connection
with students early attempts to position their
works in space, students learn to perceive and
identify the common theme linking the personal
works they are doing in this hrst year. They use
and compare the different viewpoints presented
during these sessions to open up new work
avenues.
ASSESSMENT
Presentation of works in the studio, interview with
studio professor and J
st
-year faculty team.
Year of study: J
Semester of study: 2
Prerequisite: CU studio J
Credits: J0
CU code: J0020
Artistic Practice Department 33
CU Studio 3 CU Studio 4
TAUGHT BYT
Studio professor
OBJECTIVES
During the 3
rd
semester students need to
consolidate the leads formulated at the end of
the 2
nd
semester through continuous production
aimed at synthesizing newly acquired theoretical
knowledge and technical know-how.
CONTENT AND METHODS
Students are expected to produce continually during
this 3
rd
semester, experimenting intelligently,
making use of relevant references, learning to
formulate their intentions.
ASSESSMENT
Student work assessed with studio professor.
Year of study: 2
Prerequisite: CU studio 2
Credits: J0
CU code: J0030
TAUGHT BY
Studio professor
OBJECTIVES
Students assemble a portfolio on their productions,
thereby working to analyze and defend their
artistic itinerary to an examining committee and
bring out the coherence of their work.
CONTENT AND METHODS
Students continue with their works in progress. At
the end of the semester they are asked to provide
a cogent account of their work and give a clear,
focused presentation of the intentions and aims
of each piece.
They develop an outline of their overall artistic
project, explaining their formal and visual choices.
ASSESSMENT
Students are interviewed on their printed portfolio
by an internal examining committee of professors
composed of their studio professor, another studio
professor and a Theoretical Study Department
professor.
Year of study: 2
Credits: J0
CU code: J0040
34 Course Catalogue Artistic Practice Department 35
TAUGHT BY
Studio professor
OBJECTIVES
From the 5
th
semester onward, students need to
realize in concrete terms the project outlined at
the end of the 4
th
semester. Experimentation is
encouraged, but individual pieces must be brought
to completion and show formal consistency.
CONTENT AND METHODS
Students produce regularly and position their works
in space for critique sessions in which relevance
of work content; i.e., students understanding
of how their work hts into the art context, and
the relevance of their references, are checked,
together with how the work holds up formally.
ASSESSMENT
Assessment of work with students studio professor
and another studio professor possibly of students
choice.
Year of study: 3
Credits: J5
CU code: J0050
TAUGHT BY
Studio professor
OBJECTIVES
To obtain the J
st
-cycle degree (diplme de premier
cycle) students must be able to demonstrate in
space the coherence of their artistic itinerary and
the visual quality of their creations. They must also
be able to communicate to an outside examining
committee a well-developed understanding of what
is at issue in creating art today, how they situate
themselves in relation to these issues, and how they
see their own work developing over the long term.
CONTENT AND METHODS
Students make art works that attest to the
knowledge and know-how acquired in the previous
semester and indicate the strong or dehning
characteristics of their work.
Increased number of hangings of individual
students pieces in exhibition space to assess how
they work together; students work to structure
their intentions and aims and give a cogent,
effective oral presentation of them.
ASSESSMENT
On condition that students have successfully
completed all required CUs for the three years
of the J
st
cycle, they take the J
st
-cyle degree
examination. A committee composed of an cole
studio professor and two outside members examines
students itinerary and scholastic record; student
presents a selection of art pieces representative
of his or her work over the six semesters and is
interviewed by the committee. The CU for this
studio is validated by conferral of the degree.
Year of study: 3
Pr-requis : CU studio 5
Credits: J8
CU code: J0060
CU Studio 7 or 8
Students do either a professional
internship or study abroad program.
CU Studio 7 or 8
Students are not doing either a professional
internship or study abroad program.
TAUGHT BY
Studio professor
OBJECTIVES
The aim of the professional internship and study
abroad program is to increase students autonomy
and enrich their artistic practice through a
prolonged, stimulating and challenging experience
in a relevant world outside the cole.
CONTENT AND METHODS
Students remain in contact with studio professor
during professional internship or study abroad
program. They pursue their artistic creation within,
and in response to, this new context.
ASSESSMENT
Students submit a written report on their
professional internship or study abroad program to
studio professor. On studio professors approval,
report is transmitted for validation by the Dean
of Studies.
Year of study: 4
Semester of study: 7 ou 8
Credits: J0
CU code: J0070 [7
th
semester];
or J0080 [8
th
semester]
TAUGHT BY
Studio professor
OBJECTIVES
Students explore in detail the full extent of the
held they have chosen to concentrate on, making
use of the various possibilities available to them,
with the aim of specifying their personal work
methods and procedures.
CONTENT AND METHODS
Emphasis during this semester is on exhibiting
works in space and taking into account and
responding to others points of view on them while
undertaking wide-ranging practical, conceptual
and methodological experimentation.
ASSESSMENT
Assessment of students art work with studio
professor.
Year of study: 4
Credits: J5
CU code: J007J [7
th
semester] ;
or J008J [8
th
semester]
36 Course Catalogue Drawing Section 37
Drawing is considered a basic skill and study
essential to studio practice. As an account of what
is or has been seen, an analytic tool, an instrument
for further refection, a blueprint or project to be
materialized in the future, the drawing either plays
a fundamental role in the conception and design of
an art work, whether it be a painting, sculpture,
video (story board), or is itself a work of art.
The hve drawing professors offer quite varied
approaches: analytic drawing from models, drawing
from the imagination, experimental drawing
around marks, traces, imprints, signs, writing.
Drawing courses are compulsory. J
st
-year students
choose one year-long course (2 consecutive
semesters) from among the six offered; 2
nd
-year
students choose another year-long course from
the remaining 5.
The "Advanced Drawing CU counts as a Technical
Skills CU.
Professors
James Bld
Philippe Comar (coordinator)
Gilgian Gelzer
Bernard Moninot
Valrie Sonnier
Units de Cours (UC)
Drawing as designing I
Drawing as designing II
Drawing from live models I
Drawing from live models II
States of forms I
States of forms II
Lifeline I
Lifeline II
Gray Matter I
Gray Matter II
Morphology I
Morphology II
Drawing "visits I
Drawing "visits II
Advanced drawing I
Advanced drawing II
TAUGHT BY
Studio professor
OBJECTIVES
Students specify and detail the project they intend
to carry out for obtention of the DNSAP, in order
to check feasibility and gain control of all project
parameters.
CONTENT AND METHODS
Intensive production. Students regularly put their
works to the test of exhibition; assessment of
consistency of the work as a whole. Coherence and
relevance of students realizations are analyzed in
sustained dialogue with studio professor and other
cole faculty.
ASSESSMENT
Assessment of work with students studio professor
and another studio professor possibly of students
choice.
Year of study: 5
Prerequisites: UC atelier 7 et 8
Schedule: voir p. J78 et J86
Credits: J5
CU code: J0090
TAUGHT BY
Studio professor
OBJECTIVES
To obtain the DNSAP degree. Students present
an exhibition of fully developed and executed
work based on personal artistic practice that they
will now be able to pursue independently. They
must demonstrate mastery of the technical and
theoretical means acquired and chosen, strong
knowledge of art history and the present-day art
context, and commitment to pursuing their art.
CONTENT AND METHODS
Successful completion of the degree project:
production of original works or hnal adjusting
of specihc displays or performances, regular
exhibition exercises.
Students assemble and prepare to present a
portfolio of art work to the examining committee,
together with an oral defense of their work.
ASSESSMENT
On condition that students have successfully
completed all required CUs for the two years of
the 2
nd
cycle, they take the DNSAP hnal degree
examination, conducted by a committee composed
of four outside examiners and students studio
professor. The CU for this studio is validated by
conferral of the degree.
Year of study: 5
Semester of study: J0
Prerequisites: UC atelier 9
Schedule: voir p. J78 et J86
Credits: 25
CU code: J0J00
Drawing Section
Drawing as designing 1
("Dessin dessein")
38 Course Catalogue
Drawing as designing 11
("Dessin dessein")
TAUGHT BY
Bernard Moninot
OBJECTIVES
Many contemporary art works are shown in situ:
installations, murals, hctional or imaginative
devices whose primary characteristic is to be
ephemeral. Assuming that a work of art can be
designed differently depending on where it is
located, students aim in this class is to formulate
several graphic propositions in which objects and
all things related to students personal world are
hctionally integrated into a real space.
CONTENT AND METHODS
Use of a variety of modes for representing things
and space.
Use of perspective to explore the practical and
theoretical possibilities of drawings virtualness.
Propositions are to be designed as if they were
to be realized; that is, in the form of project
drawings, assembly instructions, blueprints,
matrixes that provide the information necessary
for materialization.
This is the J
st
-part of a two-part course that must
be taken in one school year, either Semesters J, 2
or Semesters 3, 4.
ASSESSMENT
Weekly follow-up, and end-of-semester hanging
and presentation of all work produced.
Year of study: J ; 2
Semester of study: J ; 3
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Tuesdays 2-6 pm - Salle de dessin
Hours of student work: J68 hours
Credits: 6
CU code: 200J0
TAUGHT BY
Bernard Moninot
OBJECTIVES
Artists currently conceive their works in the form
of project drawings, the specihcity of which is to
anticipate possible realization. In some cases the
drawings themselves hnance project realization.
Here students aim is to use all things related to
their personal world as they conceive and design
hctional propositions through drawing and collage,
and to provide instructions for realizing these
propositions.
CONTENT AND METHODS
Initiation in using different modes of representing
objects and space, and practice of perspective in
exploring the virtualness and utopian possibilities
of drawing.
ASSESSMENT
Weekly follow-up of work in progress.
End-of-semester hanging and presentation of hnished
projects.
Semester of study: 2 ; 4
Prerequisite: CU Drawing as designing I
Schedule: 2
nd
semester 20J0-20JJ
Tuesdays 2-6 pm - Salle de dessin
Credits: 6
CU code: 200JJ
Drawing Section 39
Drawing
from live models 1
Drawing
from live models 11
TAUGHT BY
James Bld
OBJECTIVES
To acquire the means of using lines to translate
the visible in all its complexity.
To learn to develop ones drawing in keeping
with what the eyes do when one is not seeking to
control them; to become attentive to and trust the
eyes perceptions and the minds thoughts.
To develop a drawing grammar that takes into
account the demands inherent in using gray pencil
on white paper.
To develop an ability to concentrate and a will to
move beyond ones limits.
CONTENT AND METHODS
Students are invited to cultivate their capacity
to enjoy looking, as this is the best antidote to
mental confusion and an excellent source of
creative desire.
Each class session is devoted to a single drawing.
The model keeps the same pose so that students
can adjust and improve their drawings.
We will take up questions of construction,
composition, form, contour, volume, space, light
and shadow, refections and gleam, as well as
details and nuances, choice of details and their
necessary subordination to the whole.
Professors comments and explanations are
addressed to individual students, with the aim of
analyzing each drawing with each student while
student is drawing and the model is posing.
This is the J
st
part of a two-part course that must
or Semesters 3, 4.
ASSESSMENT
Regular attendance and continuous assessment at
each class session.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays J0 am-J pm - Salle de dessin
Credits: 6
CU code: 20020
TAUGHT BY
James Bld
OBJECTIVES
To consolidate and strengthen J
st
-semester
acquisitions.
The aim is to execute good drawings, with the
required intelligence and tension as conferred by
a clear, hrm mind wholly intent on its purpose.
CONTENT AND METHODS
The only way students can assimilate the
professors indications, advice and precepts is
through repeated attempts, ongoing practice.
Once students have integrated these components,
they will be able to apply them successfully in
their hand movements-the very act of drawing.
This may be a rapid process for some, a slower,
more gradual one for others.
The relevant concepts will be tirelessly repeated
until students assimilate them, are freed from
what prevents them from surpassing themselves,
and can effectively apply increasingly hne-tuned,
complex notions.
ASSESSMENT
Regular attendance and continuous assessment at
each class session.
Prerequisite: CU Drawing from live models I
Schedule: 2
nd
semester 20J0-20JJ
Thursdays J0 am-J pm - Salle de dessin
Credits: 6
CU code: 2002J
Lifeline 11 Lifeline 1
Course Catalogue 41 40 Course Catalogue
States of forms 1 States of forms 11
TAUGHT BY
Bernard Moninot
OBJECTIVES
To explore and analyze the possibilities for creating
new constructions and arrangements from visual
memory, with the purpose of producing a set
of drawings in which content and form become
visually autonomous.
CONTENT AND METHODS
Students explore place as a source and pretext for
graphic investigations.
Drawing is understood as a means to establish
a direct relation with things encountered and to
develop a sizeable "deposit of things seen.
The course is essentially practical, providing an
initiation into media, physical supports and transfer
processes, and will be substantiated with theoretical
understanding acquired from screenings, observation
of originals, meetings and studio visits.
This is the J
st
or Semesters 3, 4.
ASSESSMENT
Weekly follow-up, and end-of-semester installation
and presentation of all works produced.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Wednesdays 2-6 pm - Salle de dessin
Credits: 6
CU code: 20030
TAUGHT BY
Bernard Moninot
OBJECTIVES
"Natures inhnite teachings lead to forms that are
themselves inhnitely varied and perishable, that
multiply, overlap, combine, scatter, intersect.
Consequently, [these are] states of forms rather
than being in becoming. Jean-Christophe Bailly.
The aim is to produce a set of drawings in which
content and form become increasingly visually
autonomous.
CONTENT AND METHODS
Places for keeping plants serve as source and
pretext for students graphic investigations.
The course is essentially practical, providing an
initiation into media, physical supports, and transfer
processes, and will be substantiated with theoretical
understanding acquired from observation of originals,
books and catalogues as well as meetings and
studio visits.
ASSESSMENT
Weekly follow-up, end-of-semester installation and
presentation of all works and investigations.
Prerequisite: CU States of forms I
Schedule: 2
nd
semester 20J0-20JJ
Wednesdays 2-6 pm - Salle de dessin
Credits: 6
CU code: 2003J
TAUGHT BY
Gilgian Gelzer
OBJECTIVES
Drawing as an attitude, a consciousness of the
world expressed through open, empirical practice
that is perpetually being redehned. To explore the
multiple destinations of graphic expression in a
creative, active, well-thought-out process whose
underlying questions are those of network, circu-
lation, orientation and positioning.
CONTENT AND METHODS
Setting up a process of investigation and per-
sonal expression that makes use of the graphic
line and graphic energy. The exploration is orga-
nized around exercises that involve working on
the different qualities and temporalities of the
line, integrating notions of trajectory and contour,
measurement, pressure, pace. An experimental
approach that alternates between time spent in
intensive practice and moments of verihcation,
analysis, exchange and debate.
This is the hrst segment of a two-part course that
must be taken in one school year, either Semes-
ters J, 2 or Semesters 3, 4.
ASSESSMENT
Regular attendance and weekly following of stu-
dents work. Ongoing assessment and presenta-
tion of all work at the end of the semester.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Fridays J0am-Jpm - Salle de Dessin
Credits: 6
CU code: 20090
TAUGHT BY
Gilgian Gelzer
OBJECTIVES
To develop an independent visual language that
will serve as the basis of a full-fedged visual pro-
ject. To dehne and organize a work method by
situating ones exploration in past and present art
contexts. To produce a complete artistic work.
CONTENT AND METHODS
On the basis of Jst-semester experiments, stu-
dents will afhrm their choices and move on to exe-
cute their project, paying particular attention to
its visual and conceptual qualities. Emphasis is on
mixing media, the aim being to widen the drawing
practice to include material and techniques from
other studios.
Students work will be punctuated with moments
of information exchange, critique and debate.
ASSESSMENT
Regular attendance and weekly following of
students work. Ongoing assessment and
presentation of completed project at the end of
the semester.
Prerequisite: CU Lifeline I
Schedule: 2
nd
semester 20J0-20JJ
Fridays J0am-Jpm - Salle de Dessin
Credits: 6
CU code: 2009J
Gray matter 11 Gray matter 1
42 Course Catalogue
Morphology 1 Morphology 11
TAUGHT BY
Philippe Comar, Valrie Sonnier
OBJECTIVES
To learn to see, and to sharpen observation, by
drawing the human form, which is the fundamental
reference in this class. At a theoretical level, to
use analysis of drawings to acquire notions of
geometry and understanding about representing
the body.
CONTENT AND METHODS
Practice is of primary importance in this course.
Students are asked to work from live models,
doing life-size chalk drawings at the blackboard.
Rapid poses alternate with longer ones. Particular
attention to reading the model as a whole,
identifying balances, the major axes, bone
structure. This approach is substantiated with a
few courses on symmetry in living beings, treatises
on anatomy and books of proportions.
This is the J
st
or Semesters 3, 4.
ASSESSMENT
Weekly assessment. Students blackboard drawings
are critiqued and corrected during each class
session. Final drawing exam at the blackboard
from a live model. Assessment will focus on
graphic qualities of the drawing and students
ability to represent axes, balances, bone structure
indicators, reference planes.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Wednesdays or Thursdays 2-6 pm -
Amphi de morphologie
Credits: 6
CU code: 20050
TAUGHT BY
OBJECTIVES
To consolidate and further develop J
st
-semester
acquisitions, with emphasis now on contours and
models morphological particularities.
At a theoretical level, to acquire a few notions of
animal mechanics so as to understand relations
between form and function, a few notions of
topology so as to take up problems of distortion, and
material on expression of emotions, physiognomony,
theories of evolution.
CONTENT AND METHODS
Practice is of primary importance in this course.
Students are asked to work from live models,
doing life-size chalk drawings at the blackboard.
Particular attention to reading the model, graphic
analysis of volumes, the major muscle and
fat masses. A few classes are devoted to drawing
models in movement and morphological distortion.
ASSESSMENT
Weekly assessment. Students blackboard drawings
are critiqued and corrected during each class
session. Final drawing exam at the blackboard
from a live model. Assessment will focus on
graphic qualities and volumetrics, primary muscle
and fat masses and students ability to reproduce
models morphological particularities.
Prerequisite: CU Morphology I
Schedule: 2
nd
semester 20J0-20JJ
Wednesdays or Thursdays 2-6 pm -
Amphi de morphologie
Credits: 6
CU code: 2005J
Course Catalogue 43
TAUGHT BY
Gilgian Gelzer
OBJECTIVES
To explore the physical and mental dimensions
of drawing as space, time and body. To deve-
lop a productive synergy of forms and meaning
between the act of drawing and the act of seeing
by testing our modes of perception and represen-
tation, with careful attention to the emergence of
the graphic thought.
CONTENT AND METHODS
Thinking-through drawing-on identifying a
space, inscribing a movement, dehning a form
or the construction of an image while making the
most of all graphic resources.
Work is initiated, continued, and relaunched
through various experiments and exercises that
call upon students faculties of observation,
memory and imagination, the aim being to gra-
dually constitute graphic material, matter for
thought, that will then be brought into play in
personal drawing production.
An experimental approach to drawing in which
periods of intensive practice alternate with
moments of verihcation, analysis, exchange and
debate.
This is the hrst segment of a two-part course that
must be taken in one school year, either Semes-
ters J, 2 or Semesters 3, 4.
ASSESSMENT
dents work. Ongoing assessment and presenta-
tion of all work at the end of the semester.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays 2 - 6 pm - Salle de Dessin
Credits: 6
CU code: 20080
TAUGHT BY
Gilgian Gelzer
OBJECTIVES
To execute a personal artistic work using the
means provided by drawing.
To dehne and organize a work method by situa-
ting ones exploration in past and present art
contexts.
CONTENT AND METHODS
On the basis of Jst-semester experiments, stu-
dents will develop a work path and shape a perso-
nal intention, hnding the most appropriate graphic
means for proceeding. They will distinguish and
develop the relevant visual and expressive quali-
ties by specifying notions of space, scale, gesture
and matter.
Students work will be punctuated with moments
of information exchange, critique and debate.
ASSESSMENT
dents work. Ongoing assessment and presen-
tation of completed project at the end of the
semester.
Prerequisite: CU Gray matter I
Schedule: 2
nd
semester 20J0-20JJ
Thursdays 2 -6 pm - Salle de Dessin
Credits: 6
CU code: 2008J
Drawing Section 45 44 Course Catalogue
Drawing "visits" 1
TAUGHT BY
OBJECTIVES
The aim of these "visits to places outside the school
is to stimulate the eye, encourage students to draw in
different contexts and in some cases to draw singular
objects and places: the Conservatoire des Arts et
Mtiers, hothouses, an anatomy museum, museum
reserve collections, a paleontology gallery, etc.
Students are asked to appropriate elements of
the real from among the multitude of possibilities
offered by these environments, and render their
particularities through multiple views and framings.
CONTENT AND METHODS
A list of visit locations will be given at the start of
the semester; class meets at visit site.
Students choose subjects and views and hll a
sketchbook with as many drawing as they like.
On-site sessions last approximately two hours,
after which students and professors gather to
exchange sketchbooks and comment on them.
Seeing what the others have chosen to draw,
from what perspective and in what way is a crucial
component of the course.
This is the J
st
or Semesters 3, 4.
ASSESSMENT
Regular post-visit assessment. End-of-semester
individual assessment with students of their
drawings and notebooks. Assessment will focus on
number and variety of drawings, choice of views
and ways of framing, graphic qualities.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Fridays 2-6 pm
Credits: 6
CU code: 20060
TAUGHT BY
OBJECTIVES
To further develop J
st
-semester acquisitions,
consolidate graphic analysis skill and ability
to apprehend human, animal, plant, mineral,
mechanical and architectural structures. Emphasis
is on drawing moving forms: circus act rehearsals,
menagery, dance classes, aquarium action, etc.
CONTENT AND METHODS
A list of visit locations will be given at the start of
the semester; class meets at visit site.
Students choose subjects and views and hll a
sketchbook with as many drawing as they like.
On-site sessions last approximately three hours,
after which students and professors gather to
exchange sketchbooks and comment on them.
Seeing what the others have chosen to draw,
from what perspective and in what way is a crucial
component of the course.
ASSESSMENT
Regular post-visit assessment. End-of-semester
individual assessment with students of their
drawings and notebooks. Assessment will focus on
number and variety of drawings, choice of views
and ways of framing, graphic qualities.
Prerequisite: CU Drawing "visits I
Schedule: 2
nd
semester 20J0-20JJ
Fridays 2-6 pm
Credits: 6
CU code: 2006J
Advanced drawing 1 Advanced drawing 11
TAUGHT BY
James Bld, Philippe Comar, Gilgian Gelzer,
Bernard Moninot, Valrie Sonnier
OBJECTIVES
To practice drawing as part of a creative under-
taking and ultimately make the drawing a work
of art in itself.
CONTENT AND METHODS
At the beginning of the semester, students choose
a drawing teacher and determine a project with
him or her, including a research topic, how it will
be studied, the work student will submit. Students
then pursue their work independently.
Students may work in the drawing classroom,
the Amphithtre de Morphologie, or outside the
cole.

ASSESSMENT
Regular appointments with the drawing teacher to
check project progress. Mid-semester and end-of-
semester assessment.
Year of study: 3 ; 4
Semester of study: 5, 6 ; 7 ou 8
Prerequisite: Drawing CUs for semesters J, 2, 3, 4
Schedule: J
st
semester 20J0-20JJ, hours to be
determined with the drawing teacher
Credits: 6 (one 3
rd
-year Technical Skills CU
or one 4
th
-year elective CU)
CU code: 20070
TAUGHT BY
James Bld, Philippe Comar, Gilgian Gelzer,
Bernard Moninot, Valrie Sonnier
OBJECTIVES
To use a drawing practice to produce a hnished work
of art.
CONTENT AND METHODS
On the basis of Advanced Drawing I investigations
and work, and using the same work methods,
students will hrst identify all the stages involved
in realizing a project, then bring that project to
completion, being particularly attentive to quality
of the execution.
ASSESSMENT
Regular appointments with the drawing teacher to
check project progress. Mid-semester and end-of-
semester assessment, student presentation of com-
pleted project.
Semester of study: 6 ; 7 ou 8
Prerequisite: CU Advanced drawing I
Schedule: 2
nd
semester 20J0-20JJ, hours to be
determined with the drawing teacher
Credits: 6 (one 3
rd
-year Technical Skills CU
or one 4
th
-year elective CU)
CU code: 2007J
Drawing "visits" 11
46 Printmaking-Bookmaking Section 47
In this section, bookmaking is handled in the widest
possible terms as a set of operations that will produce
a publication. In the aluminum photo-etching,
lithography, silkscreen printing and engraving
studios, students invest the domain of publication
in terms of their own artistic concerns and interests;
they develop a project that integrates different
facets of printing and adapt the medium they have
chosen to their particular artistic projects.
Section courses are organized on a semester
basis, but students are required to spend at least
one academic year in the practice chosen; i.e.,
two consecutive semesters. Regular attendance
is strictly required so that students can produce a
hnished publication related to their overall artistic
undertaking.
Each of the four teachers has developed his own
relation to bookmaking and printing; the section thus
offers varied approaches. The professors organize
the section jointly, but each student chooses one
section teacher as reference professor on the basis
of his or her overall project.
For credit purposes, Printmaking-Bookmaking CUs
count as Technical Skills CUs.
After consultation with the students artistic practice
studio professor, it is determined whether the
Printmaking-Bookmaking sections artistic practices
will be major or complementary in students
obtention of the degree. In all cases, section courses
must engage students critical thinking about the
status of the printed work and the relation between
bookmaking techniques and other media.
From their 3
rd
year on, students can choose to enroll
with a Printmaking-Bookmaking professor as their
reference artistic practice studio.
Professors
Wernher Bouwens
Patrick Devreux
Michel Salsmann
Jean-Pierre Tanguy (coordinator)
Units de Cours (UC)
Aluminum photo-etching I
Aluminum photo-etching II
Engraving I
Engraving II
Engraving III
Engraving IV
Lithography I
Lithography II
Bookmaking practices I
Bookmaking practices II
Silkscreen printing I
Silkscreen printing II
Printmaking-Bookmaking
Section
48 Course Catalogue
TAUGHT BY
Wernher Bouwens, Patrick Devreux,
Michel Salsmann
OBJECTIVES
To aquire methods of creating a printing support
and the corresponding printing methods.
To design an art project that integrates the
different facets of this medium (photography,
typography, drawing).
CONTENT AND METHODS
Basic knowledge and practice of matrix creation
(preparing and exposing photo plates) and prin-
ting supports (papers), inks, printing equipment
and material.
Students experiment in connection with their
overall artistic projects.
This is the J
st
part of a two-part course that
must be taken over two consecutive semesters-
Semesters 3, 4 or Semesters 5, 6-for a total of J
whole school year.
ASSESSMENT
Regular attendance.
Ongoing assessment and presentation of comple-
ted project.
Prerequisite: none
Credits: 6 (one Technical Skills CU)
CU code: 300J0
TAUGHT BY
Michel Salsmann
OBJECTIVES
To execute an art project that integrates different
facets of the medium as adapted to students
overall artistic project.
CONTENT AND METHODS
Choosing supports and printing methods.
Applying them in publication projects.
ASSESSMENT
Regular attendance.
ted project.
Prerequisite: CU Aluminum photo-etching I
CU code: 300JJ
Aluminum photo-etching 1 Aluminum photo-etching 11
Printmaking-Bookmaking Section 49
Engraving 1
1ntaglio (1)
Engraving 11
1ntaglio (11)
TAUGHT BY
Jean-Pierre Tanguy
OBJECTIVES
To acquire methods of creating on a metal matrix
CONTENT AND METHODS
Learning basic intaglio engraving practices and
about the printing support (papers), inks, printing
equipment and material.
Beginning drypoint (direct) and etching (indirect
with acid).
Learning the history of engraving.
Printing an edition of at least 4 engravings
This is the J
st
part of a two-part course (Intaglio)
that must be taken throughout one school year or
over two consecutive semesters.
ASSESSMENT
Regular attendance.
Continuous assessment and presentation of com-
pleted project.
Semester of study: 3, 4 ; 5
Prerequisite: none
CU code: 30020
TAUGHT BY
Jean-Pierre Tanguy
OBJECTIVES
To acquire methods of creating on a metal matrix
with acid using different experimental techniques
corresponding to students particular art projects.
CONTENT AND METHODS
Consolidating etching practices (indirect, with acid).
Aquatint, softground, mixed methods (sugarlift,
engraving with lavender oil).
Printing an edition of at least 4 engravings that use
these different etching practices.
ASSESSMENT
Regular attendance.
pleted project.
Semester of study: 4 ; 5, 6
Prerequisite: CU Engraving I - Intaglio (I)
CU code: 3002J
50 Course Catalogue
Engraving 111
Wood engraving
Engraving 1V
Direct engraving with a burin
TAUGHT BY
Jean-Pierre Tanguy
OBJECTIVES
To acquire methods of creating on a wood matrix,
linocut and corresponding printing methods.
CONTENT AND METHODS
Learning about and making basic matrices in wood
and linoleum; learning about and using the printing
support, ink, printing equipment and material.
Printing at least 4 black-and-white and color
engravings.
ASSESSMENT
Regular attendance.
pleted project.
Year of study: 2 ; 3 ; 4
Semester of study: 3, 4, 5, 6 ; 7 ou 8
Prerequisite: none
CU code: 30022
TAUGHT BY
Jean-Pierre Tanguy
OBJECTIVES
To acquire methods of creating on a copper matrix
and corresponding printing methods; printing an
edition of black and white engravings.
CONTENT AND METHODS
To learn methods specihc to engraving with a burin
and mezzotint.
Preparing and using a burin.
Knowledge of printing methods specihc to this
engraving technique, printing supports and inks.
ASSESSMENT
Regular attendance.
pleted project.
Quality of the engraving and the hnished prints.
Semester of study: 3, 4, 5, 6 ; 7 ou 8
Prerequisite: none
Schedule: Tuesdays and Thursdays
CU code: 30023
Lithography 1 Lithography 11
TAUGHT BY
Michel Salsmann
OBJECTIVES
To acquire methods of creating on litho stones and
corresponding printing methods; printing editions of
several monochrome lithographs.
CONTENT AND METHODS
Acquiring basic knowledge and practice of litho-
graphy: printing supports (papers), inks, printing
equipment and material.
History of lithography.
Qualities and limits of the medium.
Experimenting for students projects, artists proof
and editing monochrome lithographs.
This is the J
st
be taken in one school year, either Semesters 3, 4
or Semesters 5, 6.
ASSESSMENT
Regular attendance.
pleted project.
Prerequisite: none
CU code: 30030
TAUGHT BY
Michel Salsmann
OBJECTIVES
To acquire methods of creating on litho stones and
corresponding printing methods; printing editions
of several polychromolithographs.
CONTENT AND METHODS
Successfully printing a lithograph that integrates
the different facets of this medium.
Successful preparation of a bon tirer impression.
Students experiment for their individual projects.
ASSESSMENT
Regular attendance.
pleted project.
Prerequisite: CU Lithography I
CU code: 3003J
52 Course Catalogue
Bookmaking practices 1 Bookmaking practices 11
TAUGHT BY
Michel Salsmann, Jean-Pierre Tanguy
OBJECTIVES
To design a publication taking into account
publishing constraints (the fact of multiplicity,
printing, knowledge of diffusion practices).
The project should lead students to understand
what is at stake and to use printing media well
adapted to their overall artistic projects.
CONTENT AND METHODS
Introduction to bookmaking methods and prac-
tices (prints, portfolios, artists books, illustrated
books, fanzines).
Preliminary project layouts.
Choice of supports and printing methods.
This is the J
st
whole school year.
ASSESSMENT
Regular attendance.
ted project.
Prerequisite: none
CU code: 30040
TAUGHT BY
Michel Salsmann, Jean-Pierre Tanguy
OBJECTIVES
To execute a publication taking into account pu-
blishing constraints (the fact of multiplicity, prin-
ting, knowledge of diffusion practices).
To complete one or several publications.
CONTENT AND METHODS
Applying bookmaking methods and practices to
students projects: prints, portfolios, artists books,
illustrated books, fanzines. Project layout and rea-
lization.
Choice of supports, printing methods (mixing techni-
ques) and bookbinding methods.
Knowledge of the publishing world: printers, pu-
blishers, institutional distributors (Bibliothque Na-
tionale de France, etc.), private-sector distributors.
ASSESSMENT
Regular attendance.
ted project.
Prerequisite: CU Bookmaking practices I
CU code: 3004J
Silkscreen printing 1 Silkscreen printing 11
TAUGHT BY
Michel Salsmann
OBJECTIVES
To aquire methods of creating a printing support
To design an art project that integrates the diffe-
rent facets of this medium.
CONTENT AND METHODS
Knowledge of the basic practices of matrix crea-
tion (making hlm stencils and insolating screens)
and printing supports, inks, printing equipment
and material.
Students experiment in connection with their ove-
rall artistic projects.
This is the J
st
whole school year.
ASSESSMENT
Regular attendance.
ted project.
Prerequisite: none
CU code: 30050
TAUGHT BY
Michel Salsmann
OBJECTIVES
To execute an art project that integrates different
facets of the medium as adapted to students
overall artistic project
CONTENT AND METHODS
Choice of supports and printing methods.
Application to publication projects.
ASSESSMENT
Regular attendance.
ted project.
Prerequisite: CU Silkscreen printing I
CU code: 3005J
54 Digital Technologies Section 55
The Digital Technologies Section trains students in
theory and practice of the new technologies, using
the coles considerable resources in this domain.
Six specialties are taught: 2D computer imagery,
3D computer imagery, interactivity, photography,
sound, video.
New technologies courses, continuous with students
artistic training and creation in the studio and
workshops, are organized around three axes:
- Compulsory 1
st
-year general training: the
"Art and digital technology tools and "Desktop
publishing CUs;
- 40 "Digital Techniques" training modules
(see p. 56). These modules are designed to
provide students with the know-how needed
to realize projects they have designed with
the studio professor. They are also aimed at
expanding students creative horizons to
include new technologies that could contribute
to their artistic development.
2 successfully completed Digital Techniques training
modules = J Digital Technologies CU (UCTN).
For further details on Digital Techniques CUs, see
p. 55 and the extranet.
- "Digital Production" under technical supervision.
For each area of technological know-how,
instructors are available to assist students at
specihc hours during the week. There are also
once-a-month collective tutorials where students
can view and comment on each others works-in-
progress.
For further details on Digital Production CUs
(UCPNs), see p. 55 and the extranet.
UCTNs and UCPNs count as Technical Skills CUs.
The Digital Technologies Section also offers open-
access "ofhce tasks computer facilities and an
equipment storeroom that lends equipment to
students (see p. J35).
Students can access the Digital Technologies
Section on the extranet from
www.beauxartsparis.fr. The headings "Formation
et ressources and "Forum provide access to
daily updated information on courses, modules,
teaching activities and how the section operates.
Section head
Vincent Rioux
1nstructors
Margherita Balzerani
Monique Bonaldi
David Chantreux
Julie Courel
Aurore Deligny
Sabine Dizel
Raphal Isdant
Vincent Lambert
Jean-Michel Lapelerie
Frdric Latouche
Christophe Lemaitre
Bernard Mailly
Laurent Mercier
Valrie Poifol
Christophe Ruault
Jean-Franois Thomelin
Christophe Thouvenot
Jean-Nol Yven
Course Units (CUs)
Art and digital technology tools
Desktop publishing
Digital techniques
(Training modules)
Digital production
Digital Technologies
Section
56 Course Catalogue
Art and digital technology
tools
Desktop publishing
TAUGHT BY
Margherita Balzerani
OBJECTIVES
To acquire the skills needed to use the new
technologies, specihcally in the cole environment.
To become aware of the potential creative and
artistic uses of these technologies.
CONTENT AND METHODS
A training session entitled "Introduction to the
cole digital environment, followed by practice:
extranet, specihed servers, printing, access to the
coles digital technology resources, etc.
Digital rendez-vous: J2 lectures demonstrating
use of a digital tool in art projects in the following
areas: photography, video compositing, sound,
digital painting and vector graphics, 3D computer
imagery, creating websites, interactive multime-
dia installation.
ASSESSMENT
Attendance is compulsory for the training session
and the digital rendez-vous.
Ongoing assessment, and hnal exam to be taken
on-line.
Year of study: J
Prerequisite: none
Schedule: see course schedule supplement
and extranet
CU code: 400J0
TAUGHT BY
and several instructors
OBJECTIVES
To acquire the skills needed to produce a printed or
on-line portfolio representative of students art work.
CONTENT AND METHODS
Desktop publishing training session: methodology
for constituting a portfolio, page layout, document
digitizing, image processing and digital printing.
Students create their own art portfolio.
8 classes for each training session with a group of
J0 students; class meets in the computer room.
Students must enroll in January 20J0 for a ses-
sion at the Digital Technologies Section.
ASSESSMENT
Regular attendance and evaluation of students
art portfolio in last class session.
Year of study: J
Prerequisite: CU Art and digital technology tools
and extranet
CU code: 40020
Digital Technologies Section 57
Digital techniques Digital production
TAUGHT BY
Several instructors
OBJECTIVES
To acquire skills for using different digital tools in
the areas of 2D computer imagery, 3D computer
imagery, interactivity, photography, sound, video.
CONTENT AND METHODS
J
st
week of the semester: compulsory enrollment
in the Digital Techniques CU (UCTN) with the head
of the Digital Technologies Section.
The Digital Technologies Section offers 40 training
modules in the six aforementioned areas; see
Digital Techniques Training Modules (p. 56) and
the extranet.
Students enroll in training modules adapted to
their individual artistic pursuits.
2 successfully completed training modules =
J UCTN.
Students may earn several UCTNs as long as they
earn a Digital Production CU (UCPN) after each
UCTN.
ASSESSMENT
Successfully completing 2 Digital Techniques Training
Modules.
Student is evaluated on regular attendance and
technical quality of assigned exercises.
Semester of study: 3, 4 ; 5, 6 ; 7 ou 8
Prerequisite: CUs Art and digital technology tools
and Desktop publishing
and extranet
CU code: 40030 (UCTN I) ; 4003J (UCTN II) ;
40032 (UCTN III)
TAUGHT BY
Several instructors
OBJECTIVES
To produce a personal art work designed in the
Artistic Practice studio using skills acquired in a
UCTN.
CONTENT AND METHODS
J
st
week of the semester: compulsory enrollment
in the Digital Production CU (UCPN) with the head
of the Digital Technologies Section.
A Digital Technology Section instructor chosen by
the student supervises the different production
stages in students work.
Instructor regularly monitors the project from the
start of the semester; student presents project at
least once during a Digital Technologies Section
collective tutorial.
Students may earn several UCPNs as long as they
earn a Digital Techniques CU (UCTN) after each
UCPN.
ASSESSMENT
Mastery of the technical procedure in question and
use of it in realizing a personal art project.
Semester of study: 4 ; 5, 6 ; 7 ou 8
Prerequisite: J UCTN (CU Digital Techniques)
and extranet
CU code: 40040 (UCPN I) ; 4004J (UCPN II) ;
40042 (UCPN III)
58 Course Catalogue
Training modules for
digital techniques CUs
(UCTNs)
2 successfully completed Training Modules = J
UCTN. See extranet and course schedule supple-
ment for how to enroll.
Students may earn several UCTNs as long as they
earn a Digital Production CU (UCPN) after each
UCTN.
2D Computer imagery
1mage processing
Digitizing, color regulating, retouching, image com-
bining techniques, digital painting and digital printing
methodology.
module takes 8 half-days over an 8-week period
held J
st
semester 20J0-20JJ
software: Photoshop
number of times this module offered: 3
prerequisite: none.
2D animation generalities
Introduction to the different animation techniques
(theory and practice). Presentation of technical
resources available at the cole; general metho-
dology. Learning to choose an appropriate techni-
que for a given project.
module takes 2 consecutive days
held J
st
semester 20J0-20JJ
software: After Effects, Photoshop
number of times this module offered: J
prerequisite: image processing module.
2D animation, banc titre
Doing practical exercises to learn the fundamental
principles of several animation techniques (pain-
ting, drawing, sand, etc.).
module takes 6 full days over a 3-week period
held 2
nd
semester 20J0-20JJ
software: After Effects, Photoshop
prerequisite: 2D animation generalities module +
personal project.
Still and animated vector graphics
Experimenting with the characteristics of vector
graphics (smooth lines, single color surfaces),
learning animation techniques.
held 2
nd
semester 20J0-20JJ
software: Illustrator, Flash
prerequisite: none.
3D Computer imagery
3D generalities
Discovering the stages of producing a 3D compu-
ter imagery project: modeling, animation, lighting
and coloring of 3D objects and spaces.
held J
st
semester 20J0-20JJ
software: Maya
prerequisite: image processing module.
1nteractivity
1nteractivity, generalities
Dehning an interactive setup, presentation of
technical resources available at the cole, general
methodology for project realization.
held J
st
semester 20J0-20JJ
software: Pure Data, Processing
prerequisite: image processing module + mastery
of J other digital technique.
Web workshop, level 1
Techniques for exploring the web medium for
artistic creation purposes (specihc exercises).
held 2
nd
semester 20J0-20JJ
software: Dreamweaver, Flash, Processing
prerequisite: interactivity generalities module.
Web workshop, level 2
Development of a personal project around the
web medium.
held 2
nd
semester 20J0-20JJ
software: Dreamweaver
prerequisite: interactivity generalities module +
web workshop, level J + personal project.
1nteractive installation workshop
Students are collectively supervised as they realize
personal interactive installation projects; module
content determined by participants projects.
module takes J0 full days over a J0-week period
held 2
nd
semester 20J0-20JJ
software: Pure Data, Processing, Isadora
prerequisites: interactivity generalities module +
personal project.
60 Course Catalogue
Photography
(traditional and digital)
Photography, generalities
Description of technical resources available at the
cole, general methodology of photo shooting,
development, black-and-white and color printing,
large-format printing, digital printing, introduction
to the imager. Learning to choose the technique
adapted to a specihc project.
module takes 3 days in one week + J half-day
the same week
held J
st
and 2
nd
semesters 20J0-20JJ
software: Photoshop
prerequisite: none.
Shooting, traditional and digital
Shooting methodology, equipment, framing, lighting,
using the fash. Study of relations between printed
results and shooting.
module takes 5 half-days over a 5-week period
held J
st
and 2
nd
semesters 20J0-20JJ
software: Photoshop, Lightroom
prerequisite: photography, generalities module.
Lighting Workshop
Consolidating mastery of natural and artihcial
lighting in the shooting context. Learning to choose
a technique adapted to a particular project.
module takes 5 consecutives days
held 2
nd
semester 20J0-20JJ
prerequisite: shooting + personal project.
Medium format shooting
Advanced study and practice of medium format
shooting methodology (Hasselblad, Fuji 6 x 7 and
6 x 9 inches). Only students who have taken this
workshop may borrow medium cameras.
held J
st
and 2
nd
semester 20J0-20JJ
Large format shooting
Advanced study and practice of large format
shooting methodology (4 x 5 inches). Only students
who have taken this workshop may borrow large
cameras.
held J
st
and 2
nd
semester 20J0-20JJ
Black-and-white photo
development and silverprinting, level 1
Practicing laboratory techniques: developing neg-
atives, using the enlarger, printing. Experimenting
with different photography papers. Touch-up
technique.
+ J half-day a month later
held 2
nd
semesters 20J0-20JJ
prerequisite: photography, generalities module.
Black-and-white photo
development and silverprinting, level 2
Advanced study and practice of black-and-white
photo printing methodology, toning technique,
multigrade papers, etc.
held J
st
and 2
nd
semesters 20J0-20JJ
prerequisite: black-and-white photo development
and silverprinting module, level J.
Color printing
Theory of color, printing color negatives, printing
from a model, contact prints, color touch-up.
held J
st
and 2
nd
semesters 20J0-20JJ
prerequisite: black-and-white photo development
and silverprinting module, level J.
Large-format printing
Methodology of traditional black-and-white and
color printing on a large-format wall mounting
enlarger, formats over 60 x 80 cm.
module takes J full day
held J
st
and 2
nd
semesters 20J0-20JJ
prerequisite: color printing module.
Sound
Sound, generalities
cole. General methodology of sound recording
and sound editing, installation and diffusion.
Learning to choose a technique adapted to the
particular project.
held J
st
semester 20J0-20JJ
software: Cubase
prerequisite: none.
Theory of sound
Becoming conscious of sound, learning to listen,
stimuli and effects of the drive to listen, vocabulary
and techniques specihc to sound. Undertaking a
historical listening journey to bring up to date the
hominization and individuation process at work in
sound production. Music perceived as a dialectic
between the expected and the actually heard;
mimetic non-differentiation, composing and the
strategy of desire.
held J
st
semester 20J0-20JJ
prerequisite: none.
Sound project workshop, level 1
Students are supervised and assisted in their
personal projects. Methodology of studio and
outdoor sound recording. Learning how to capture
sound in connection with different possible uses
of it. Sound editing, mixing and processing
methodology. Problematics of sound diffusion.
held J
st
semester 20J0-20JJ
software: Cubase
prerequisites: sound generalities module + personal
project.
Sound project workshop, level 2
Students are supervised and assisted in their
personal projects. Advanced sound recording,
editing, mixing and processing methodology;
advanced sound diffusion. Sound-to-image editing.
Introduction to MIDI interfaces and information.
module takes 8 full days over an 8-week period
held 2
nd
semester 20J0-20JJ
software: Cubase
prerequisites: sound generalities module + personal
project.
Video

Video, generalities
cole. General methodology, shooting, editing,
diffusion. Learning to choose a technique adapted
to the particular project.
held J
st
and 2
nd
semesters 20J0-20JJ
software: Final Cut, I-DVD, Toast
prerequisite: none.
Video stories
Presenting the different video techniques from a
historical and theme-specihc perspective.
module takes 8 half-days over an 8-week period
held 2
nd
semester 20J0-20JJ
prerequisite: none.
Shooting and editing, level 1
Practicing the entire chain of operations involved
in making a hlm. Raising the questions of meaning
and how to make ones esthetic choices visible.
module takes 8 days over 2 weeks
held J
st
semester 20J0-20JJ
prerequisites: video generalities module + personal
project.
Shooting and editing, level 2
Perfecting editing and shooting skills; mastering
the problem of chosen stance.
held 2
nd
semester 20J0-20JJ
software: Final Cut
prerequisite: shooting and editing, level J +
personal project.
Lighting workshop
Consolidating mastery of natural and artihcial lighting
in the shooting context. Learning compositing
technique.
module takes 3 consecutive days + J half-day a
month later
held 2
nd
semester 20J0-20JJ
software: Final Cut, After Effect
prerequisites: shooting and editing, level J +
personal project.
62 Course Catalogue
Video
(continued)
Writing workshop
Collective supervision for realizing a theme-related
project.
module takes 7 half-days over a 7-week period
held 2
nd
semester 20J0-20JJ
software: to be chosen by participants
prerequisite: video generalities module, shooting
and editing, level J + personal project.
Video incoding
Exporting hles; different types of encoding for
production, diffusion or conservation purposes.
Beginning DVD-authoring methods.
held 2
nd
semester 20J0-20JJ
software: Final Cut, After Effect, DVD Studio Pro,
Toast
prerequisite: video generalities module.
Technical Skills Department 63
Technical Skills
Department
The Technical Skills Department offers a full, rich
set of courses for training students in creative tech-
niques, in addition to the new technology modules
offered by the Digital Technologies Section. Starting
in 2
nd
year and depending on personal projects, stu-
dents and their studio professors choose courses
taught in specihc studios or technical workshops.
Mastering these creative techniques requires stu-
dents complete, steady commitment, which begins
with regular attendance.

Five studios-ceramics, forging, composite materials,
mosaics and stonecutting-woodcutting-will be set
up in a new space in Saint-Ouen. Students enrolled
in these studios will have access to well-adapted
spaces in a professional and urban environment
conducive to artistic creation.
Address: Cap Saint-Ouen, 5 rue Paul-Bert,
93400 Saint-Ouen
Mtro: Porte de Clignancourt or Garibaldi
Bus RATP: 56, J37, PC 3, 85, 540, J66, 255,
bus Noctilien N J4, N 44
Layout p. J8J.
Professors
Patrice Alexandre (coordinator)
Gtz Arndt
Philippe Bennequin
James Bld
Daniel Leclercq
Abraham Pincas
Philippe Renault
Gilles Rousvoal
Fabrice Vannier (coordinator)
Teaching technicians
Serge Agoston
Grard Delangle
Claude Dumas
Carole Leroy
Michel Salerno
Course Units (CUs)
Analyzing artworks I
Analyzing artworks II
Woodworking
Ceramics I
Ceramics II
Foundry work
Forging
Fresco painting I
Fresco painting II
Composite materials I
Composite materials II
Metalworking I
Metalworking II
Modeling I
Modeling II
Mosaics I
Mosaics II
Moldmaking and casting I
Moldmaking and casting II
Stonecutting-woodcutting I
Stonecutting-woodcutting II
Painting techniques I
Painting techniques II
Stained glass
64 Course Catalogue
Analyzing artworks 1 Analyzing artworks 11
TAUGHT BY
James Bld
OBJECTIVES
To open students minds to what constitutes the
excellence of individual works and further their
acquisition of practical artistic skills and resources.
This is a course in composition. And since drawing
is the analytic instrument, it is also a drawing
class. Analytic and synthetic precision, perfectly
expressed in a drawing, cannot be dissociated
from the ability to give that drawing form. To
paraphrase Czanne, "The drawing is fullest and
hnest when the thinking is at its richest.
CONTENT AND METHODS
The course will be held at the Louvre. Its chosen
means for enabling students to acquire knowledge
and understanding is the reasoned exercise of
drawing from works by master artists. The idea
is to draw from the masters in the same way we
draw from life.
Students choose a major work which they will
focus on throughout the two semesters. They
must work to understand through their own
drawings (one drawing per class meeting) how
the artwork "works, what gives it its power and
beauty. The form of the drawing refects what the
drawer has perceived and understood. The fact is
that we only see what we think to see. By dint of
labor, our thinking becomes richer and bolder, our
knowledge more substantial.
This is the J
st
be taken in one full school year, either Semesters
3, 4 or Semesters 5, 6.
ASSESSMENT
Regular attendance and continuous assessment.
Semester of study: 3; 5
Prerequisite: none
Schedule: Fridays J0 am - Muse du Louvre
Credits: 6
CU code: 500J0
TAUGHT BY
James Bld
OBJECTIVES
To teach synthetic minds to be more analytic,
analytic minds to be more synthetic.
Students work on their drawings down to the
details of tone and form; this will enable them
to deepen their knowledge and understanding of
what accounts for the character and subtlety of
the work, the singular genius of the artist.
CONTENT AND METHODS
The same as for the hrst semester and the
"Drawing from live models course.
After drawing from the work as a whole in the
J
st
semester to assimilate the principles governing
its construction and composition, the student now
studies signihcant parts or hgures.
NB: Analyzing works the way artists with a
sketchbook and pencil do precludes drawing
schematic lines in all directions, even during the
construction stage. The point is to use drawing
to forge a view, a way of looking, or, to quote
Goethe, "What I have not drawn I have not
seen., or Giacometti: "I know what I see only
while working.
ASSESSMENT
Regular attendance and continuous assessment.

Prerequisite: CU Analyzing artworks I
Schedule: Fridays J0 am - Muse du Louvre
Credits: 6
CU code: 500JJ
Woodworking
TAUGHT BY
Grard Delangle
OBJECTIVES
To acquire techniques of working with and using
wood and wood derivatives adapted to artistic
needs, including when they involve unorthodox
uses of craft and industrial practices.
To learn and correctly follow safety rules.
CONTENT AND METHODS
Study of woods and native tree species.
Learning assembly methods and how to use hand
tools.
Making a study box.
Learning carving, how to use gouges and a wood
chainsaw; in collaboration with the stonecutting
studio at Cap Saint-Ouen.
Studying the different types of laminated wood
glued into massive wood and reconstituted wood
and how they are assembled, realizing a Mbius
strip.
ASSESSMENT
Regular attendance. Ongoing assessment of the
quality of the objects students are assigned to
make: a box, a picture molding and others.
Also on how well they know and follow safety
rules.
Prerequisite: none
Schedule: every day
Credits: 6
CU code: 50030
66 Course Catalogue
Ceramics 1
Modeling
TAUGHT BY
Claude Dumas
OBJECTIVES
To make a large ceramic piece for hring using
the "hollow mounting technique, i.e., without
armature.
CONTENT AND METHODS
Theoretical class sessions: general terminology,
study of minerals.
Main physical laws: how materials behave, hring,
fusion.
History of ceramics.
Introduction to the different domains in which
ceramics are used: design, architecture, crafts,
contemporary art.
Developing an operative mode of constructing
and realizing a piece in connection with students
individual projects, appropriate use of equipment
and material, awareness of technical constraints.
Making the piece.
Studying reproduction processes: pressing, slip
casting.
ASSESSMENT
Completing the project, quality of hnished work.
Prerequisite: none
Schedule: Tuesdays and Fridays - Cap Saint-Ouen
Credits: 6
CU code: 50040
Ceramics 11
Polychrome ceramics
TAUGHT BY
Claude Dumas
OBJECTIVES
To make a 2- or 3-dimensional polychrome ceramic
piece.
CONTENT AND METHODS
Study of pigments, enamels, glazes, slips.
Behavior during hring, fusion.
Learning the various application procedures.
Practicing and experimenting to make ceramic
pieces.
ASSESSMENT
Quality of completed works.
Prerequisite: CU Ceramics I - Modeling
Schedule: Tuesdays and Fridays - Cap Saint-Ouen
Credits: 6
CU code: 5004J
Foundry work
TAUGHT BY
Technicians at the Fonderie de Coubertin
OBJECTIVES
To discover how an art foundry works and understand
the process of making a bronze sculpture.
To acquire foundry techniques: sand-casting and
the lost wax process.
Designing and realizing a sculpture in bronze.
CONTENT AND METHODS
The course is broken down into two stages:
- creating a model, making a wax and an
investment shell, pouring, chasing, using a
feeding system;
- making a bronze sculpture from students direct
wax, polystyrene or sand models. Performing
all steps, including patinating.
Students enroll at the Service de la vie scolaire
(Scholastic Affairs Ofhce) with studio professors
approval.
ASSESSMENT
Regular attendance and quality of hnished project.
Students also evaluated on how well they know
and follow safety rules.
Prerequisite: none
Schedule: specihc document
Credits: 6
CU code: 50050
Forging
TAUGHT BY
Carole Leroy
OBJECTIVES
To master forging, measuring the limits of the
particular matter and acquiring the independence
required for realizing a project.
To undertake a personal, innovative interpretative
project using forging techniques.
To learn how to work in a team-an important
characteristic of forging.
CONTENT AND METHODS
Course is taught on the basis of examples. Theory
is taken up through practice, since theory and
practice combine in the process of mastering the
material and creating with it.
Students study the use of heat energy and different
heating temperatures, shaping a piece (transforming
the metal), using traditional and semi-industrial
equipment and handling pieces safely, cubing
(dehning volume before transformation).
Exercises hrst done collectively, then individually.
Students realize a personal project under teaching
technicians guidance.
ASSESSMENT
Regular attendance and quality of practices
performed.
Creative application of training in making one or
several pieces.
Prerequisite: none
Schedule: Mondays and Fridays - Cap Saint-Ouen
Credits: 6
CU code: 50060
68 Course Catalogue
Fresco painting 1
TAUGHT BY
Philippe Bennequin
OBJECTIVES
To discover the "affresco painting technique. By
gradually developing their sensibility and perception,
students acquire the hrst level of skill necessary
for executing large-scale frescoes.
To study the function of mural art in architecture
and the city as well as its historical, technical and
iconographic aspects.
CONTENT AND METHODS
Discovering through practice the particular re-
quirements of this technique, developing an
awareness and understanding of colored space
through the lived experience of working "affresco
on studio walls.
Learning the technique of smoothing paint on
mortar and wet plaster; discovering the many
technical possibilities and variations of fresco
painting.
Each realization requires preliminary studies,
making a mortar and plaster support, and
executing the composition on the wet plaster.
Possibility of studying frescoes and works of the
past or artistic projects in architectural spaces.
ASSESSMENT
Regular attendance and ongoing assessment.
Prerequisite: none
Schedule: Mondays, Tuesdays and Wednesdays
Credits: 6
CU code: 50070
Fresco painting 11
TAUGHT BY
Philippe Bennequin
OBJECTIVES
To acquire the skills necessary for doing future
large frescoes related to architectural projects.
To pursue the study of mural art in architecture
and the city together with historical, technical and
iconographic aspects.
To acquire a clear understanding of the demands
involved in realizing projects.
CONTENT AND METHODS
Advanced training through regular practice and
experimentation; realizing large-scale "affresco
compositions on the studio walls.
Studies of and interventions in artistic projects in
architectural spaces.
Possibility of studying frescoes and works of the past.
Students preliminary studies represent possible
openings in all possible directions of investigation,
from using new technologies (digital, 2D or 3D
computer imagery software, hlm, realizing three-
dimensional models, etc.) to rediscovering the
simple components of the matter used and the
thoughtful experimentation that creates works of
art.
ASSESSMENT
Regular attendance and ongoing assessment.
Prerequisite: CU Fresco painting I
Schedule: Mondays, Tuesdays and Wednesdays
Credits: 6
CU code: 5007J
Composite materials 1
TAUGHT BY
Serge Agoston
OBJECTIVES
To become familiar with composite materials and
acquire the necessary beginning skills for realizing
art projects in composite materials.
After this course, students should be able to
practice composite material techniques semi-
independently.
To learn the safety rules for handling composite
materials and related studio equipment.
CONTENT AND METHODS
Theory and practice are closely linked.
Study of various composite materials, their nature,
origin, family, physical and chemical characteristics.
Avoiding danger and learning to handle these
materials safely: presentation of and familiarization
with safety equipment.
Producing small pieces from silicon or plaster molds.
Beginning to learn inclusion and stratihcation
techniques.
ASSESSMENT
Successfully completing a series of small personal
projects using the techniques learned.
Ongoing assessment of theoretical and technical
knowledge.
Students are also assessed on regular attendance,
motivation and progress.
Prerequisite: none
Schedule: Mondays and Tuesdays -
Cap Saint-Ouen
Credits: 6
CU code: 50080
Composite materials 11
TAUGHT BY
Serge Agoston
OBJECTIVES
To master the techniques for working with composite
materials.
To acquire autonomy in using the techniques
taught and go beyond those techniques to
successfully realize art projects.
CONTENT AND METHODS
Constructing a resin matrix and a resin mold;
advanced piece production and surface treatment.
Learning stratihcation with transparency.
Learning to use a paint gun for pistol painting.
Realizing a large-scale project.
ASSESSMENT
Successfully completing a major personal project
dehned with the teaching technician and dem-
onstrating independent use of the techniques
learned.
Students are also assessed on regular attendance,
inventiveness and progress.
Prerequisite: CU Composite materials I
Schedule: Mondays and Tuesdays -
Cap Saint-Ouen
Credits: 6
CU code: 5008J
70 Course Catalogue
Metalworking 1
TAUGHT BY
Michel Salerno
OBJECTIVES
To learn about metals and how they have been
used through history in art and industry.
To acquire the skills needed to use basic
metalworking equipment.
To learn and follow safety rules.
CONTENT AND METHODS
Learning how tools work and how to handle them:
metal-cutting (burin or milling cutter), shaping
(folding, rolling, bending with a hammer or
machine), cold assembly (boring, tapping, thread
cutting, riveting), hot assembly (arc welding,
MIG welding, blowtorch) and applications: ring,
chassis, cone, cube.
Students are assigned to do individual library or
internet research.
Visits to museums, exhibitions, material suppliers.
ASSESSMENT
Ongoing assessment of theoretical and practical
acquisitions.
Students assessed on how well they know and
follow safety rules.
Also on regular attendance and spirit of initiative.
Prerequisite: none
Schedule: every day
Credits: 6
CU code: 50090
Metalworking 11
TAUGHT BY
Michel Salerno
OBJECTIVES
To master techniques and acquire full knowledge
of metal properties.
To acquire the independence needed to realize
personal projects, including choosing materials
adapted to those projects.
CONTENT AND METHODS
Tool-making and knowledge of hne steels (forging,
sharpening, tempering).
Beginning to handle copper metals (copper and
brass): copper hammering, shaping.
Chasing and patinating (bronze).
Brazing and TIG welding.
Realizing personal projects.
Theory: compulsory visits to two professional sites
of students choice (either internet documentation
or workshop visits).
Writing a report on an industrial or artistic activity.
ASSESSMENT
Regular attendance, ongoing assessment, following
safety rules.
Students turn in a hle including reports on studio
visits or internet research.
They are assessed on independence and level-II
practice; also originality and singularity of project
realized.
Prerequisite: CU Metalworking I
Schedule: every day
Credits: 6
CU code: 5009J
Modeling 1
TAUGHT BY
Patrice Alexandre, Daniel Leclercq
OBJECTIVES
To immerse students in the language of modeling
so they may learn both traditional techniques and
those not as readily identihed in ordinary notions
of and discourse on modeling, and thereby to help
them develop a singular vocabulary.
To give shape to conceptions of matter, thereby
discovering the means at our disposal and our
creative refexes.
CONTENT AND METHODS
First, acquiring knowledge of and know-how in
using materials and techniques understood to de-
rive from modeling history. Examples: clay and
wax, plumblines, constructing armatures in metal
and wood.
Second, inventing other combinations, even te-
lescoping different materials (ex: cotton, wood,
found materials, etc.).
Understanding by experience the importance of
such verbs as add, remove, crush, knead, raise,
separate, bring together, etc.
Work themes will be regularly proposed: studies
based on the human body (ranging from skeletons
to cut-away diagrams), on the experience of sen-
sual contact with the material (touch, the sound
the material makes when handled, sight, gestu-
res). Students will be assigned several sketches.
Particular attention will be given to questions of
scale and of modeling medium and volume weight
in space, also to light and shadow in relation to
haut and bas-relief.
Regular study of modeling history throughout the
course.
Possible meetings and joint projects with other
studios.
ASSESSMENT
Ongoing assessment of exercises and a course no-
tebook students will keep; notebook is to include
formulas and suggestions for handling technical
problems as well as commentaries on history-rela-
ted examples. Regular attendance is compulsory.
Prerequisite: none
Schedule: Tuesdays, Wednesdays, Thursdays
(see p. J8J).
Credits: 6
CU code: 50J00
Modeling 11
TAUGHT BY
Patrice Alexandre, Daniel Leclercq
OBJECTIVES
To further develop and intensify technical
knowledge by hnding appropriate responses in the
course of specihc experiments.
To construct a relatively complete list of the
possibilities offered by the materials used and
of students perceptions about and insights into
scale.
CONTENT AND METHODS
Des exercices seront proposs notamment partir
Exercises based on the following themes:
- volume put to the test of social space;
- the very little and the very big;
- the second and third dimensions.
We will take up the question of the marks left
by the fabrication process and whether or not to
efface them, particularly as it has impacted on the
history of sculpture.
Experts will be invited to speak at the studio
during the semester.
Joint projects may be initiated with other insti-
tutions, such as the Thtre de Chaillot and the
FRAC le-de-France (Le Plateau).
ASSESSMENT
Ongoing assessment. Students must be attentive
to conceptual elaboration and model realization.
Progress made during the course will be assessed
by a showing of students work at the end of the
semester.
Regular attendance is compulsory.
Prerequisite: CU Modeling I
Schedule: Tuesdays, Wednesdays, Thursdays
(see p. J8J).
Credits: 6
CU code: 50J0J
72 Course Catalogue
Mosaics 1
TAUGHT BY
Fabrice Vannier
OBJECTIVES
To learn how to use the tools, materials, and
traditional, new and yet-to-be-invented supports
involved in making mosaics.
To master methods of cutting tesserae for wall,
pavement and object-surface mosaics and of
sticking (direct and indirect methods), grouting
and polishing mosaics.
To acquire knowledge of the artistic and technical
development of mosaics.
CONTENT AND METHODS
Exercises (creations, reproducing details, realizing
students cartoons) on a variety of supports
(plywood, hbralith, hred clay, etc.) using various
binding or sticking substances (mortars, glues,
resins, etc.) and materials (stones, stained glass,
miscellaneous fragments, etc.).
Presentation of the history of artistic mosaics and
mosaic techniques using written and computer-
produced documents and photos.
Visits to sites, museums, and companies producing
mosaic-making materials.
ASSESSMENT
Students are assessed on performance of exercises
using a variety of techniques. Regular attendance
at technical presentation classes and regular
practice required. Students interviewed on what
they learned from the visits.
Prerequisite: none
Schedule: Wednesdays and Thursdays -
Cap Saint-Ouen
Credits: 6
CU code: 50JJ0
Mosaics 11
TAUGHT BY
Fabrice Vannier
OBJECTIVES
To successfully complete one of three possible
types of mosaic project: an independent art
project; a monument project linked to an urban or
architectural context, landscape or garden; an art
project using a practice inspired by mosaics.
To further develop technical acquisitions and
continue creative experimenting with materials,
supports and tools.
To learn in detail how mosaics are applied.
CONTENT AND METHODS
Content and methods depend on individual
students choice of project type:
- independent art project (pictorial or graphic
transcription, object, inlay, ephemeral installation,
etc.) using traditional, new or yet-to-be-
invented supports and materials,
or
- presentation of a project context (architectural
plans and elevations, sketches and photos
of a particular landscape, etc.) and realizing a
representative full-scale detail of the monu-
mental project and possibly a reduced-scale
mode l,
or
- designing a work inspired by mosaics and the
properties inherent in mosaic technique, history,
poetics, etc., using photography, video, writing,
performance, dialogue with a work from the
past, diverting a technique, revealing a poetics,
etc.
Study of documents.
ASSESSMENT
Students assessed on the innovative, experimental
aspects of their work. Regular practice and
attendance required, particularly at classes where
documents are presented.
Prerequisite: CU Mosaics I
Cap Saint-Ouen
Credits: 6
CU code: 50JJJ
Moldmaking and
casting 1
TAUGHT BY
Philippe Renault
OBJECTIVES
To learn to produce a mold from a simple clay
form using three possible techniques of the four
taught: " creux perdu (lost-mold), piece mold,
wire mold, silicone mold.
To understand what molding techniques can
contribute to the development and realization of
students art projects.
CONTENT AND METHODS
Discovering the different molding techniques with
their specihc functions using a clay form that
students are assigned to make.
Basic learning of how to perform three of the four
techniques taught: lost-mold, piece mold, wire
mold, silicone mold.
The hrst classes provide information on how the
studio is run, the content of the CU, how the clay
form is to be realized.
Then:
- Making the clay form: maximum 50 cm,
designed to be compatible with the three
assigned techniques. Students will have to do
some research to make the form.
- Making a lost-mold from the clay form: pouring
the plaster, removing the mold, touching up
and hnishing.
- Making a multi-piece mold, then a clay stamp
from the plaster form.
- Using the clay stamp, students make a plaster,
wire, or silicone mold, then pour a wax copy.
- End-of-semester museum visits to the Louvre,
Orsay, etc.
ASSESSMENT
Regular attendance and students progress in their
personal work.
Ongoing assessment of completed artistic works.
Prerequisite: none
Schedule: Thursdays and Fridays
Credits: 6
CU code: 50J20
Moldmaking and
casting 11
TAUGHT BY
Philippe Renault
OBJECTIVES
To master molding techniques and experiment
with combining them to obtain optimal results.
To extend the limits imposed by technical
constraints and thereby work with greater creative
ease and freedom.
CONTENT AND METHODS
Learning techniques for making molds on natural
objects using alginate, plaster strips, wire molds.
Perfecting techniques chosen so as to use them in
a personal project.
Presentation of general information at hrst class
meeting, followed by practice in making molds
from life: alginate (molding a hand), plaster strips
(body molding: leg, arm, torso), plaster and wire
(molding a foot).
Making a form out of clay, plaster, polystyrene,
etc., that measures a maximum of J.50 m,
directly related to students overall artistic project
and that takes into account the constraints and
possibilities implied in realization. To be done
only after preliminary refection and research on
contemporary mold realizations.
Molding the form using the techniques student
has chosen, then pouring the plaster, wax, etc.,
or using the composite materials (silicone mold)
or ceramic material (piece mold).
End-of-semester visits to the Muse Fragonard,
the cole Vtrinaire de Maisons-Alfort, the
museum at the Hpital Saint-Louis, etc.
ASSESSMENT
Regular attendance and progress. Ongoing assess-
ment of successive stages of the work.
Prerequisite: CU Moldmaking and casting I
Schedule: Thursdays and Fridays
Credits: 6
CU code: 50J2J
74 Course Catalogue
Stonecutting-
woodcutting 1
TAUGHT BY
Gtz Arndt
OBJECTIVES
To learn to visualize and dehne a shape inside a
volume by directly cutting it out.
To begin to acquire the relevant techniques for
realizing students artistic project.
To learn to justify and make good use of the materials
and techniques chosen for an artistic project.
To learn the main stonecutting and woodcutting
references through examples taken from the
history of sculpture and architecture.
CONTENT AND METHODS
Learning cutting techniques appropriate for projects:
fashioning, sawing, knocking off unwanted material,
perforation and surface work, etc.
Practicing cutting, understanding and learning the
rhythm of the manual gestures involved, how to
perform them precisely and to the desired effect.
Following safety rules when handling volumes and
blocks (safe tool use, safe lifting and handling).
Determining the steps required to produce an
artwork through woodcutting or stonecutting and
realizing the artwork.
ASSESSMENT
Regular attendance and practice, personal motivation
and progress on projects.
Following safety rules.
Prerequisite: none
Cap Saint-Ouen
Credits: 6
CU code: 50J30
Stonecutting-
woodcutting 11
TAUGHT BY
Gtz Arndt
OBJECTIVES
To become thoroughly familiar with cutting and
carving materials and techniques.
To pursue a personal project using an open ap-
proach to woodcutting and stonecutting that may
include other materials or modes of expression.
CONTENT AND METHODS
Experimenting and becoming familiar with different
materials and cutting tools-limestone, marble,
granite and various woods-their specihc qualities
and symbolic values and references.
Analyzing a sculpture project in terms of volume,
space, scale, weight, shape, density and perspective;
situating it in a specihc context (installation,
architecture, public space).
Comparing stonecutting and woodcutting with
other materials and practices.
Visits to exhibitions and production sites such as
quarries and construction sites.
ASSESSMENT
Students diligence and perseverence in realizing
the project using the appropriate techniques.
Project originality.
Spirit of initiative.
Prerequisite: CU Stonecutting-woodcutting I
Cap Saint-Ouen
Credits: 6
CU code: 50J3J
Painting techniques 1
TAUGHT BY
Abraham Pincas
OBJECTIVES
To acquire knowledge about the creative process
as it involves thought, feeling, and technical
means of realization.
To enable students to conceive and pursue their
personal visual and technical concerns in painting.
This course is open to students in all disciplines.
CONTENT AND METHODS
Theory, research and practice are closely linked.
Theory classes take up the history of painting
materials and techniques from prehistoric times
to the present.
Creation and process: connections between meaning,
sensations and acts; memory and preservation;
light and creation; color and vision; the structure
of matter.
Practice and theory: foundational supports; materials;
the different techniques.
Applying acquired knowledge to students personal
art work and through exercises on the inner and
outer model as well as on a master work (or
fragment thereof) so as to understand a technical
process and it principles.
This is the J
st
-part of a two-part course that must
be taken in one full school year, either Semesters
3, 4 or Semesters 5, 6.
ASSESSMENT
Weekly ongoing assessment of individual students
level of theoretical and practical knowledge and
quality of students exercises using the different
painting techniques.
Prerequisite: none
Schedule: Wednesday and Thursday afternoons
Credits: 6
CU code: 50J40
Painting techniques 11
TAUGHT BY
Abraham Pincas
OBJECTIVES
To deepen and broaden knowledge of the creative
process in relation to thought, feeling and technical
means of realization.
Students continue to conceive and pursue their
personal visual and technical painting concerns.
CONTENT AND METHODS
Students choose three techniques and create
personal works using them.
Complementary studies, namely research into
new concepts, materials and technical processes.
Oral presentation and explanation of personal work.
ASSESSMENT
Weekly ongoing assessment of individual students
level of theoretical and practical knowledge and
quality of students exercises using the different
painting techniques.
Prerequisite: CU Painting techniques I
Schedule: Wednesday and Thursday afternoons
Credits: 6
CU code: 50J4J
76 Course Catalogue
Stained glass
TAUGHT BY
Gilles Rousvoal
OBJECTIVES
To acquire the knowledge needed to design and
realize a project in stained glass.
To apprehend a medium that works by way of
transparence and translucence.
To integrate a visual project into an architectural
context in response to a commission.
To master the physical gestures and techniques
used in working with glass, a support that uses
and affects light.
CONTENT AND METHODS
Studying past and contemporary stained-glass
works (library research, visits to sites, etc.).
Developing a visual project (model, drawing,
other) to be integrated into an architectural
context, determining how to realize it.
Choosing transposition processes (materials: nature
of the glass; realization techniques: engraving,
painting, fusion, etc.)
Realizing a practice panel or to-scale prototype
that gives a clear idea of the overall project.
ASSESSMENT
Students are assessed on their ability to use
materials and techniques that are well adapted to
the initial project.
Prerequisite: none
Schedule: see pp. J8J and J86
Credits: 6
CU code: 50J50
Theoretical Study Department 77
Theoretical study in such areas as esthetics, his-
tory of art, anthropology, and the history of literary
creation is a major component of cole programs.
It is not our aim to train philosophers, historians
or anthropologists. However, artists and future
artists must be aware of the philosophical, histori-
cal, and anthropological implications of the singular
activity they are preparing themselves for-what
our societies call art. The individual courses in
this department are highly specialized, but taken
together they offer a large panorama ranging from
Antiquity to our time and refecting multiple points
of view. Courses focus in detail on a specihc ques-
tion or theme, a particular moment in history or
the work of a given artist, and they change every
year. These are not general overviews or rudimen-
tary outlines. While art students are not expected
to become specialists or scholars, the cole does
aim to stimulate their desire for knowledge, to
look deeper and in greater detail into certain ques-
tions. The theoretical courses enable all students to
acquire a solid "general culture, not as one subject
matter among others but as the result of intersec-
ting courses in a variety of disciplines.
Students must take at least one Theoretical study
CU every semester, from hrst through fourth year.
Given the diversity of their earlier itineraries, they
are free to choose their theoretical courses and
the order in which they take them. However, they
may earn credits in no more than two courses per
discipline, to ensure exposure to a broad range of
concerns and issues.
The questions raised in theoretical study courses
are brought up again in studio discussions and
exchanges with other artists. And the coles
Mdiathque is a highly effective resource for
further developing the knowledge and under-
standing acquired in theoretical study courses and
seminars.
Professors
Pierre Bergounioux
Alain Bonfand (coordinator)
Jean-Franois Chevrier
Franois-Ren Martin
Didier Semin (coordinator)
Visiting and associated professors
Emmanuelle Brugerolles
Maurice Godelier
Danile Hibon
Monique Jeudy-Ballini
Course Units (CUs)
Anthropology-history I
Anthropology-history II
Film I
Film II
Drawings from the Collections I
Drawings from the Collections II
Esthetics I
Esthetics II
History of contemporary art I
History of contemporary art II
History of literary creation A-I
History of literary creation A-II
History of literary creation B-I
History of literary creation B-II
General art history A-I
General art history A-II
General art history B-I
General art history B-II
History of photography I
History of photography II
History and theory of modern and contemporary
art I
History and theory of modern and contemporary
art II
Theories of art I
Theories of art II
Research I
Research II
Theoretical Study
Department
78 Course Catalogue
Anthropology-history 1
Anthropology and history, two approaches
to social realities
TAUGHT BY
Maurice Godelier, Monique Jeudy-Ballini
OBJECTIVES
To introduce students to the fundamentals of his-
tory and anthropology; familiarize them with the
notion of social and cultural otherness; move them
to decenter their minds and depart from their
usual categories of thought, opening their minds
to other ways of living and thinking and thereby to
other contexts of artistic production.
CONTENT AND METHODS
Lectures will discuss historical and anthropological
approaches to social facts, focusing in particular
on representations of the body and artistic crea-
tion.
The aim is to explain what a society is and what
makes it work and reproduce itself. We will also
work to make students aware of what anthropo-
logical held work is, teaching them to distance
themselves from their ethnocentric presupposi-
tions so as to analyze their observations effecti-
vely; also to use bibliographic materials.
Detailed lecture program available at the start of
the semester.
ASSESSMENT
Regular attendance is compulsory to earn the CU
(no more than 3 absences).
- Students will conduct a small held study and
write a 6 to 7-page report on it, analyzing the
observations they have made of and within a
group or milieu of their choice.
- Oral exam on the results of their study.
Year of study: J ; 2 ; 3 ; 4
Semester of study: J ; 3 ; 5 ; 7
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays 5-7 pm - Amphithtre du Mrier
Credits: 6
CU code: 600J0
Anthropology-history 11
Modernization, westernization
and globalization
TAUGHT BY
Maurice Godelier, Monique Jeudy-Ballini
OBJECTIVES
To enable students to discover ways of thinking
and acting that contrast with those of their own
cultural world.
To enable them to grasp the weight of the sym-
bolic and imaginary in producing various forms of
social life.
To induce them to refect on the political, econo-
mic, religious and more broadly cultural relations
that the worlds other societies have to the west.
To have them question the notion of modernity on
the basis of specihc cases presented in class.
CONTENT AND METHODS
Lectures will focus on non-western cultures and
societies, exploring the identity issues exercising
contemporary societies in the context of globali-
zation. Is modernization a choice or an ineluctable
fate? How can a society modernize without beco-
ming western, and if it does become western, to
what degree should that change be integrated into
its own history and traditions? The lectures will
proceed along these lines of questioning.
Detailed lecture program available at the start of
the semester.
ASSESSMENT
Regular attendance is compulsory (no more than
3 absences).
- A 4-hour in-class written exam.
- An oral exam.
Semester of study: 2 ; 4 ; 6 ; 8
Prerequisite: CU Anthropology-history I
Schedule: 2
nd
semester 20J0-20JJ
Thursdays 5-7 pm - Amphithtre du Mrier
Credits: 6
CU code: 600JJ
Film 1
Walking is not running
TAUGHT BY
Danile Hibon
OBJECTIVES
To initiate students in the history of hlm-the
fundamental esthetic axes thereof-and the chro-
nology of its development. This years themes,
"walking and "disappearance, provide a view
of how the issues involved in directing, dramatic
composition, technical means, acting, etc., deve-
loped in cinematography throughout the world.
CONTENT AND METHODS
From the outset-from the hrst chronophotographs
by Etienne-Jules Marey to images of workers lea-
ving the Lumire factories-moving pictures and
hlmic invention were consubstantial with humans
walking. The history of hlm in all its genres stages
people walking-explorers, conquerors, warriors,
prowlers, people strolling through nature or cities,
thinking or philosophizing, composing declarations
of love. From the grim steps of hlm noir heroes to
heroes in westerns, hlm excels in representing man
walking. Though the cinema further developed by
staging the chase, our study this semester will
demonstrate that walking is not running.
There will be J0 two-hour courses by hlm histo-
rians, critics, writers and university professors or
hlmmakers, with screenings of hlm excerpts; once
or twice a semester a full-length hlm will be pre-
sented and analyzed by the hlmmaker as a "lesson
in cinema. Detailed program available at the start
of the semester.
ASSESSMENT
A 4-hour in-class written exam to be taken after
two screenings of a 5 to J5-minute hlm excerpt.
Exam subjects will give students the opportunity
to demonstrate their ability to "see cinematogra-
phically in the way they describe and interpret
the excerpt and to elaborate further on questions
handled in class, while eliciting their individual
investment in the material.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays J0:30 am-J2:30 pm - Jeu de Paume
Credits: 6
CU code: 60020
Film 11
Disappearance
TAUGHT BY
Danile Hibon
OBJECTIVES
To make students aware of the mutual infuences
between hlm and artistic creation: todays visual
artists are attracted to narrative, and hlmmakers
use directing techniques similar to those found in
artists installations.
CONTENT AND METHODS

Film is as much an art of what fades, is effaced,
disappears as of what appears or comes to pass.
This is implied in the technical operation itself:
in order for images to move, photograms have
to disappear as well as appear. Disappearance-
absence, effacement, fade-out-is therefore an
essential feature of hlm narrative. Disappearance
into the night-of memory, consciousness, the very
matter of the image. In fantasy hlm narratives or
narratives that call on the notion of the uncanny
(The Searchers; Vertigo; Lavventura), hlmma-
kers have delighted in constructing stories around
someones disappearance. Experimental hlm has
sought to elicit ever more intense poetic stupefac-
tion, with the disappearance of human bodies or
abstract forms.
As in the hrst semester, ten courses, and encoun-
ters with hlmmakers.
Bibliography and hlmography available at the
Mdiathque.
Students must work individually, reading, watch-
ing complete hlms. Detailed program to be made
available at the start of the semester.
ASSESSMENT
A 4-hour in-class written exam to be taken after
two screenings of a 5 to J5-minute hlm excerpt.
Exam subjects will give students the opportunity
to demonstrate their ability to "see cinematogra-
phically in the way they describe and interpret
the excerpt and to elaborate further on questions
handled in class, while eliciting their individual
investment in the material.
Prerequisite: CU Film I
Schedule: 2
nd
semester 20J0-20JJ
Thursdays J0:30 am-J2:30 pm - Jeu de Paume
Credits: 6
CU code: 6002J
80 Course Catalogue
Drawings from
the Collections 1
Representing the human gure
TAUGHT BY
OBJECTIVES
To acquire knowledge of art history by way of the
coles drawing collections, with emphasis this
year on concerns essential to the process of crea-
ting a work of art in the studio, understood as a
place of training and learning. The hrst semester
will focus on how representation of the human
hgure and approaches to it evolved from the late
fourteenth to the nineteenth century.
CONTENT AND METHODS
From the late fourteenth century on, representing
the human hgure was the fundamental exercise
for artists in training in workshops and studios.
Artists worked from live models-this was the
basis of teaching at the Acadmie Royale de Pein-
ture et de Sculpture-also from wooden dummies
(Lucas Cambiaso) and wax hgurines, preferred
by Nicolas Poussin and mentioned in Dufresnoys
Trait de la peinture.
The coles drawing collections provide exceptional
examples and a set of approaches to the human
hgure ranging from realism to idealization.
ASSESSMENT
Oral exam.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Tuesdays J0 am-J2 pm - Salle Lesoufach
Credits: 6
CU code: 60030
Drawings from
the Collections 11
Artist studio practices
TAUGHT BY
OBJECTIVES
Using the Ecoles drawing collections, to study
the studio practices of copying and counterproof.
The study of a few typical examples should enable
students to grasp the complexity of the artists
appropriation process.
CONTENT AND METHODS
We will be focusing on the practice of copying
as reference and source of inspiration, using
two bodies of work: Nicolas Poussins drawings,
derived from ancient sources and reused in his
later creations: and Franois Bouchers drawn
copies, aimed to constitute cultural baggage and
memory. Liber Veritatas by Le Lorrain (Claude
Gelle) presents another aspect of copying: copies
as a guarantee against having ones work pillaged
by other artists.
The counterproof technique was used above all in
the eighteenth century to conserve the memory
of studio compositions or transform initial ideas
into other forms. We will study counterproofs by
Watteau, Fragonard and Hubert Robert.

ASSESSMENT
Oral exam.
Prerequisite: CU Drawings from the Collections I
Schedule: 2
nd
semester 20J0-20JJ
Tuesdays J0 am-J2 pm - Salle Lesoufach
Credits: 6
CU code: 6003J
Esthetics 1
Phenomenology of artists' writings
TAUGHT BY
Alain Bonfand
OBJECTIVES
Using a phenomenological approach to studying
artists texts, most from the twentieth century, to
bring to light how, and at what decisive moments in
the artists development, some artists feel a need to
write down either the founding act of their work or-
and it is this second phenomenon that the course is
especially interested in-the shift from one period to
another of their work (the term period here has
the meaning it does in art history).
CONTENT AND METHODS
The course seeks to revisit the notion of period
using a decisive tool in phenomenology: poch,
or reduction. Im referring to the shift from the
natural attitude, so designated by Husserl (the
world as we believe it is) to the phenomenalizing
world, that is, the world that appears in accor-
dance with the invu (unseen or never-befor-seen),
which I have theorized in phenomenological philo-
sophy terms that owe something to Michel Henry
and Jean-Luc Marion,
The method is meant to be co-extensive with
a specihc art school as related to a university
course; specihcally, to be consistent with the prin-
ciples of phenomenology. In this course, it is only
on the basis of the works themselves-the specihc
event of their apparition-that a notion or theore-
tical tool can emerge. Whereas philosophy is likely
to inspect a work by means of a concept, or to
force it or incline it to illustrate such a concept,
here the approach is entirely different: the work
comes hrst, and its phenomenality alone-the
conditions of it appearance or apparition-deter-
mines our turning to-or calling upon-a theoreti-
cal tool. The aim of the course this year is to bring
to light this principle, as this "call is what guides
us toward the notion of reduction at the epicenter
of the phenomenological approach.
ASSESSMENT
A 4-hour written test followed by an oral exami-
nation.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Tuesdays 2-4 pm - Amphithtre du Mrier
Credits: 6
CU code: 60040
Esthetics 11
Phenomenological approach
to artists' writings
TAUGHT BY
Alain Bonfand
OBJECTIVES
This course is indissociable from Esthetics I. The
aim is to conhrm through study of particular
examples the specihcity of a phenomenological
mode of investigation in which the works them-
selves hold center stage: theory arises from the
works without ever being applied or "plastered
onto them.
CONTENT AND METHODS
A second proposition hlters through the works
analyzed. I will try to prove that from Van Goghs
writings to Artauds, Kandinskys to De Chiricos,
Giacomettis through Hlions, in texts by Henri
Michaux, and also in texts by hlmmakers like Tarko-
vski and Bresson, the reduction move resolutely
exceeds the notion of style; indeed, this move or
movement of appearing-the invu (like the inoui ou
indit [unheard-of or unprecedented])-is unique to
esthetic experience.
I will work to show how the move that accomplishes
reduction is expressed not only in the distance
between one period and another in an artists work
(distance too readily archived away) but also in how
the artist expresses it and feels the need to attest to
it in his writings.
Running through the course is the hypothesis of a
philosophical horizon specihc to esthetic experience:
what is given in esthetic experience is given only to
be taken away, and the vision is followed by a kind
of mourning (this is what gives rise to commentary)
unique to this self-denying gift.
ASSESSMENT
It is essential to be simultaneously enrolled in the
Esthetics I CU. Students will be assessed on the
basis of an oral presentation and a term paper.
For 4
th
-year students who have already success-
fully completed the 2 CUs of this course, the work
will consist in writing a specihc term paper whose
subject and orientation are to be dehned with the
professors approval and in accordance with the
current study program reform. (Course open to
3
rd
-year students and above; exceptions require
approval from professor and deans ofhce.)
Prerequisite: students must be simultaneously
enrolled in CU Esthetics I
Schedule: J
st
semester 20J0-20JJ
Tuesdays 4-6 pm - Amphithtre du Mrier
Credits: 6
CU code: 6004J
82 Course Catalogue
History
of contemporary art 1
Biography, activity, construction 1
TAUGHT BY
OBJECTIVES
To resituate contemporary art in its historical
depth and give students the distance necessary
for engaging in contemporary art culture. Stu-
dents follow the unfolding of a historical narrative
based on a research project in progress and subs-
tantiated by descriptions of works and reading;
they are thus made aware of the importance of
facts and dates. They need to understand how this
information becomes meaningful within a set of
problems generated by hypotheses.
CONTENT AND METHODS
A biography is the more or less truthful narrative
(story) of a life; it is based on documented fact
that may include accounts by others. Ever since
Vasaris Lives (J550, J568), this literary genre
has founded the modern notion of the artist, sha-
ping written art history and above all art history
as made by artists themselves. We will be focu-
sing on artist biographies in which the artists are
actors in both senses of the word; above all, we
will be examining the genealogical components
called into play in biographical constructions.
In a time when narration, documentation and tes-
timony in art have become major issues, we will
explore the boundary, the crossing zone, whereby
artistic activity is situated between life and the
artists work. There has often been something tra-
gic in the artists presentation of himself as a uni-
que individual. For example, in J9J6 Kafka noted:
Clearly show uniqueness-despair.
We will probe the idea behind Marcel Schwobs
Vies imaginaires, emphasizing two artists asso-
ciated with surrealism, Max Ernst and Schwobs
niece Claude Cahun.
This is a lecture course
ASSESSMENT
A 4-hour in-class written exam will allow for
assessing how well students have assimilated
course material and the personal investigative
work each has done in connection with the course.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Mondays 7-9 pm - Amphithtre des Loges I
Credits: 6
CU code: 60050
History
of contemporary art 11
Biography, activity, construction 11
TAUGHT BY
OBJECTIVES
Students need to be able to immerse themselves
in this study in connection with the issues presen-
ted to them in the J
st
semester. They have to feel
the need to verify for themselves and pursue in
their own ways the experiences of reading and
perception presented to them in the hrst part of
the course.
CONTENT AND METHODS
In the early J970s, Roland Barthes undertook to
rehabilitate biography beyond biographism. In the
preface to Sade, Fourier, Loyola (J97J), he repla-
ced biographical continuity with discontinuous ele-
ments that he called biographemes. In J963 he
had already suggested thinking of structuralism
as an activity, by analogy with surrealistic activity
(Lactivit structuraliste, in Essais critiques).
Between these two dates, these two suggestions,
an extremely wide range of experiments were
deployed, both reuses and a new cartography of
the negation/destruction problematic developed by
historical avant-gardes.
We will distinguish two often intermingled modes of
biographical construction: the serial mode, and the
mode of retroactive elaboration (the artist keeping
close tabs on his own development). Artistic acti-
vity appears either as a system of variations that
has the effect of multiplying the artists biographical
identity, or as a set of moments of variable forms:
tableau (a series of series), hlm sequence (Barthes
referred to silent hlm), a constellation, etc.
This is a lecture course.
ASSESSMENT
A 4-hour in-class written exam will allow for
assessing how well students have assimilated
course material and the personal investigative
work each has done in connection with the course.
Prerequisite: CU History of contemporary art I
Schedule: 2
nd
semester 20J0-20JJ
Credits: 6
CU code: 6005J
History
of literary creation A-1
Literature and philosophy (1)
TAUGHT BY
Pierre Bergounioux
OBJECTIVES
Early on, in Ancient Greece a new, rational atti-
tude began to develop, attested to by both litera-
ture-i.e., written narrative-and philosophy. But
the relations between these two types of discourse
were confictual and complementary, and this
separation was continuously ratihed by the educa-
tional system.
CONTENT AND METHODS
Comparative study of literary and philosophical
texts from the hfth century BC to the Enlighten-
ment will reveal their points of convergence and
dissension. We will see that in the latter period,
the two seem to fow together and into each other,
becoming more difhcult to distinguish.
ASSESSMENT
A 4-hour in-class single-essay exam followed by
an oral exam.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Wednesdays 2-4:30 pm - Amphithtre du Mrier
Credits: 6
CU code: 60060
History
of literary creation A-11
Literature and philosophy (11)
TAUGHT BY
Pierre Bergounioux
OBJECTIVES
Literature and philosophy are two different lan-
guages that nonetheless refer to the same world-
an uncomfortable kinship well worth studying.
CONTENT AND METHODS
The contemporary period has seen the develo-
pment of the natural and human sciences, but
these have not rendered obsolete the ancient dis-
course of philosophers and writers. We will inquire
into why this is so: What enduring need does that
discourse work to meet?
ASSESSMENT
an oral exam.
Prerequisite: CU History of literary creation A-I
Schedule: 2
nd
semester 20J0-20JJ
Wednesdays 2-4:30 pm - Amphithtre du Mrier
Credits: 6
CU code: 6006J
84 Course Catalogue
History
of literary creation B -1
Literature and reality (1)
TAUGHT BY
Pierre Bergounioux
OBJECTIVES
Literature is a partially autonomous field of ac-
tivity, with its own forms, themes, schools,
disputes, periods of invention, silences. But by de-
finition, it comes second, for literature speaks
of the world, and literary history is inseparable
from world history.
CONTENT AND METHODS
We will study the structure of societies, the
contradiction between relations of production
and productive forces that runs through societies
and causes upheaval in them, and the forms of
expression associated with the successive social
systems: domestic, slaveholding, feudal, capitalist
and collectivist.
ASSESSMENT
an oral exam.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays 2-4:30 pm - Amphithtre du Mrier
Credits: 6
CU code: 60070
History
of literary creation B -11
Literature and reality (11)
TAUGHT BY
Pierre Bergounioux
OBJECTIVES
For three millenia, societys highest consciousness
of itself was to be found in literature. In the last
two centuries literature has lost this monopoly
over expression.
CONTENT AND METHODS
The recent development of learned languages has
afficted literature with uncertainty. Indeed, lite-
rature is now in an open, chronic state of crisis.
Guided by literary and other texts, we will dis-
cover the renewed invention of literature within
modernity in France and abroad.
ASSESSMENT
an oral exam.
Prerequisite: 2
nd
semester 20J0-20JJ
Thursdays 2-4:30 pm - Amphithtre du Mrier
Credits: 6
CU code: 6007J
General art history A -1
1mages at warcirculation, commingling
TAUGHT BY
Franois-Ren Martin
OBJECTIVES
To offer an introduction to analysis of images and
their power. The point here is to probe the role of
what we think of today as works of art in construc-
ting and further developing political or religious
communities. Careful attention will be paid to issues
of propaganda and colonizing the imaginary. This
is a two-year (four-semester) course in which we
will cover consecutively the following four topics:
J) circulation and commingling; 2) iconoclasms;
3) the political landscape; 4) globalization.
CONTENT AND METHODS
In the last few years many studies have been
done on the image war in both anthropology
and art history. We will be making particular use
in this hrst semester of studies by Serge Gru-
zinski, showing how powerful and complex is the
role played by works of art in constructing and
transforming imagined communities. We will hrst
attempt to illustrate these phenomena by stu-
dying Ancient art: monumental sculpture played
an essential role in dehning power. We will be
particularly attentive to the issue of reuse. Later
we will consider the circulation and commingling
of images and architectural forms in colonial
contexts in South America and Asia.
ASSESSMENT
A 4-hour in-class written exam followed by an oral
exam in which students will describe and situate
an image or work of art.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Wednesdays 2-4 pm, Amphithtre des Loges I
Credits: 6
CU code: 60080
General art history A -11
1mages at wariconoclasms
TAUGHT BY
Franois-Ren Martin
OBJECTIVES
This course is the natural extension of the hrst-
semester course. The aim is .to show the crucial
importance of the viewer in art history-here a
viewer who destroys artworks for religious or
political reasons or because they are in some way
too powerful or have too powerful a grip on peoples
minds.
CONTENT AND METHODS
This course is centered around a fundamental text
by the art historian Aby Warburg on the Protes-
tants use of images for propaganda purposes in
the sixteenth century. Clearly then, this kind of
propaganda through images is indissociable
from the move to destroy images. To illustrate the
theme, we will consider several loci of the icono-
clasm crisis: Byzantium, the Protestant Reform,
the French Revolution, the Commune of Paris,
destruction of monuments during the two World
Wars. At the end we will consider a few contempo-
rary examples: destruction of communist monu-
ments after the fall of the Berlin Wall, the Talibans
dynamiting of the Bamiyan buddhas.
ASSESSMENT
Prerequisite: CU General art history A-I
Schedule: 2
nd
semester 20J0-20JJ
Wednesdays 2-4 pm, Amphithtre des Loges I
Credits: 6
CU code: 6008J
86 Course Catalogue
General art history B -1
Cite, venerate, destroy: Raphael and a few
others in the work of 1ngres and Picasso
TAUGHT BY
Franois-Ren Martin
OBJECTIVES
To make students aware of the issues implied
in citing, borrowing from, reusing, interpreting,
pastiching others work. To provide a glimpes of the
immense fame and infuence of past masters in the
nineteenth century-hrst and foremost, Raphael-
and the profound change in the presents relation
to the past and tradition in the work of a few great
artists, where the status itself of citation becomes
extremely problematic.
CONTENT AND METHODS
We will hrst inquire into the status of citation and
allusion in art history. This will open onto conside-
rations of historiographic myth, to be handled by
examining the presence of Raphael and a few other
ancient masters (Van Eyck, Rembrandt, Grnewald)
in the work of two great artists: Ingres and Picasso,
both of whom were fascinated by the hgure of
Raphael, particularly Raphael in love. The fact that
Picasso then became fascinated by Ingres will ena-
ble us to extend the inquiry to artistic genealogies,
citation networks, self-citing.
ASSESSMENT
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursdays 2-4 pm, Amphithtre des Loges I
Credits: 6
CU code: 60090
General art history B -11
Cite, venerate, destroy: a few masters
(including Raphael) in the work of Kirchner
and Ernst
TAUGHT BY
Franois-Ren Martin
OBJECTIVES
To pursue the J
st
-semester course, studying other
types of relationship to the past, other ways of
citing, new historiographic myths.
CONTENT AND METHODS
The attempt in this 2
nd
semester will be to show
how art history, specihcally its great heroic
hgures, took hold of the minds of later artists,
orienting their esthetic choices and weighing on
their consciousness like a kind of superego. Here
we will be considering two artists, Ernst Ludwig
Kirchner and Max Ernst, in order to illustrate
phenomena of identihcation and confict in relation
to the great hgures-Raphael once again, but also
Drer, Rembrandt, Michelangelo and Grnewald.
ASSESSMENT
Prerequisite: CU General art history B-I
Schedule: 2
nd
semester 20J0-20JJ
Thursdays 2-4 pm, Amphithtre des Loges I
Credits: 6
CU code: 6009J
History
of photography 1
Photography and lm narrative
TAUGHT BY
OBJECTIVES
To provide students with concrete access to photo-
graphy in all its artistic diversity. Since the J850s,
photography has been a decisive technique in the
evolution of art, crucial in dehning modern art as
situated between the hne arts and the media. Stu-
dents need to become aware of this phenomenon,
and to critically examine current uses of this artis-
tic tool on the basis of historical knowledge.
CONTENT AND METHODS
We will continue last years inquiry into the rela-
tionship between photography and hlm. Walker
Evans held that photography is a literary art. This
is even truer of hlm, especially hction based on
scripts and in many cases on literary texts-the
narrative dimension slips in between photogra-
phy and hlm. We will begin by studying a hlm
by Robert Bresson based on a novel by Georges
Bernanos, Journal dun cur de campagne (J95J);
the study will encompass Andr Bazins commen-
tary on the hlm.
We will also read Siegfried Kracauers Theory of
hlm: The redemption of physical reality (New York:
J960), recently translated into French under the
title Thorie du hlm: la rdemption de la ralit
matrielle (Paris: Flammarion, 20J0), paying par-
ticular attention to the passages on photography
and the images accompanying those passages.
ASSESSMENT
Students will be assessed on the basis of a report
on their reading, due at the end of the semester,
or an in-class written exam.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Tuesdays 6-9 pm - Amphithtre des Loges I
Credits: 6
CU code: 60J00
History
of photography 11
Photognie since Gogol
TAUGHT BY
OBJECTIVES
To deepen and broaden the material presented in
the J
st
semester so that students can relate their
own experience to the problematic of the course.
CONTENT AND METHODS
Pursuing our J
st
-semester study, we turn to the
place of details and fragments in photography
and hlm narrative, going back to literary sources
shared by the photographic and hlmic modes of
photognie; specihcally, Nikolai Gogols St. Peters-
burg Stories, and among them Nevsky Prospekt
(J835). We will also analyze a few sequences in
Eisensteins The General Line (J928) in connec-
tion with the hlmmakers theories on close-ups
and editing. And examine the photognie notion
itself, hrst put forward by Franois Arago in J839
in connection with photography; later taken up by
Louis Delluc in his writings on hlm (Photognie,
J920) and by Jean Epstein. For Delluc, photognie
was the harmonizing of photography and hlm.
ASSESSMENT
Students work to be assessed by means of a
hnal in-class written exam. However, they are
also advised to do an oral presentation or submit
a written report on their reading (as in the Jst
semester); this work will be taken into account in
the hnal assessment.
Prerequisite: CU History of photography I
Schedule: 2
nd
semester 20J0-20JJ
Tuesdays 6-9 pm - Amphithtre des Loges I
Credits: 6
CU code: 60J0J
88 Course Catalogue
History and theory of modern
and contemporary art 1
Harald Szeemann or the exhibition
as art form (1)
TAUGHT BY
Didier Semin
OBJECTIVES
The History and theory of modern and contemporary
art CU aims to give art students a taste for histori-
cal knowledge together with methodological compo-
nents. The point is to stimulate their curiosity and
develop their critical sensibility, not so as to make his-
torians of them but to enable them to fully measure,
in light of the past, the issues of the contemporary
artistic debates they aspire to partake in.
CONTENT AND METHODS
Harald Szeemann-born in J933 in Berne, too soon
departed (2005)-was much more than a great
curator and exhibition organizer; he practically
invented exhibition-making, uplifting it to an art in
its own right. In place of the administrative term
commissaire, for which he had little affection,
he referred to himself as the founder of a museum
without walls, the Museum of Obsessions. To
draw the portrait of Harald Szeemann is to tell
the story of art in our time. In the hrst semester
we will concentrate on Szeemanns contemporary
art exhibitions-namely When Attitudes Become
Form, Berne, J969; Happening & Fluxus, Kln,
J970, Documenta V, Kassel, J972-unanimously
recognized as pathbreaking events, and his
remarkable presentation in J974 of objects retrieved
from his grandfathers hairdressing salon in an
exhibition entitled Grovater.
ASSESSMENT
A 4-hour written exam (student writes either an
essay or an analysis of a text or artwork) and an
oral exam (commentary on a document studied
in class).
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ Thursdays and
Fridays JJ am-J pm - Amphithtre des Loges I
Credits: 6
CU code: 60JJ0
and contemporary art 11
Harald Szeemann, or the exhibition
as art form (11)
TAUGHT BY
Didier Semin
OBJECTIVES
The History and theory of modern and contemporary
art CU aims to give art students a taste for histori-
cal knowledge together with methodological compo-
nents. The point is to stimulate their curiosity and
develop their critical sensibility, not so as to make his-
torians of them but to enable them to fully measure,
in light of the past, the issues of the contemporary
artistic debates they aspire to partake in.
CONTENT AND METHODS
In the second semester, we will investigate the
continuity between Szeemanns action and the
historical avant-gardes of the J9J0s and J920s,
thereby discovering how the exhibition-makers
creations worked to situate contemporary art.
We will be looking in detail at such exhibitions
as Machines clibataires (Bachelor machines),
J975, inspired by the book of the same title by
Michel Carrouges, in turn inspired by Duchamp,
Kafka, and Raymond Roussel; Monte verit
(Mountain of truth), J978 (Monte Verit was
a libertarian community founded in J900 near
Ascona, Switzerland; many artists spent time
there early in the century) and Der Hang zum
Gesamtkunstwerk (The inclination for the total
work of art), J983.
ASSESSMENT
A 4-hour written exam (student writes either an
essay or an analysis of a text or artwork) and an
oral exam (commentary on a document studied
in class).
Prerequisite: none
Schedule: 2
nd
semester 20J0-20JJ Thursdays and
Fridays JJ am-J pm - Amphithtre des Loges I
Credits: 6
CU code: 60JJJ
Theories of art 1
The work of Akiro Kurosawa,
or revisiting genre theory (1)
TAUGHT BY
Alain Bonfand
OBJECTIVES
To examine major works of hlm and painting,
moving beyond simply relating the two arts to
each other so as to become fully aware of the spe-
cihcity of each medium. This years course focuses
on the complete works of Akiro Kurosawa, who
initially wanted to be a painter and whose work is
haunted by that medium.
Students will need to hnd components in the
course that will enable them to attune their artis-
tic intuitions to one of the two media.
CONTENT AND METHODS
This course has two aims: to show that beneath
the apparent heterogeneity of the works of the
great hlmmaker Akiro Kurosawa (his hlms often
left critics perplexed and in general they preferred
Ozu or Mizoguchi), those works actually revisit and
indeed undermine genre theory; and (the second
aim is correlative to the hrst) to show that pain-
ting is omnipresent in Kurosawas hlms, though
in puzzling and complex ways. Dodeskaden, his
hrst color hlm, is constantly referring to modern
art, and the entire hlm is punctuated with painting
(inhabited by what we may call for conveniences
sake art brut). On the other hand, in his later hlms
like Kagemusha and Ran, Kurosawa applies the
strict meaning of history painting.
ASSESSMENT
exam.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Credits: 6
CU code: 60J30
Theories of art 11
The work of Akiro Kurosawa, or revisiting
genre theory: the presence of painting in
Kurosawa's lms (11)
TAUGHT BY
Alain Bonfand
OBJECTIVES
On the basis of acquisitions from Theories of art I
and study of hlms, texts and documents, to ren-
der clear and indeed obvious a phenomenological
method in which the works remain in charge, as it
were, and where they clearly resist being "cove-
red by or assigned to any concept. This years
course is concerned specihcally with how twen-
tieth-century history makes itself felt in the works
analyzed: indeed, Akiro Kurosawas hlms cannot
be understood without taking into account the
trauma of Hiroshima and Nagasaki.
CONTENT AND METHODS
This course, directly related to the hrst part (CU I),
aims to bring to light the particular ht between an
artistic medium and a type of esthetic intuition-by
examining, for example, the decisive, enduring ques-
tion of "framing in terms of the proposition "pain-
ting and cinema, then considering the difference
between frame and screen; or the question of the
"pregnant moment in painting and the correlative
idea of a "pregnant moment specihc to hlm. These
fundamental themes will therefore not be laid down
a priori but will make themselves felt and impose
themselves phenomenologically as the result of the
comparison between painting and cinema.
Lectures, student work sessions, hlm screenings
and document study.
ASSESSMENT
It is essential to be be enrolled in or to have taken
Theories of Art I.
Students will be assessed on the basis of a term
paper that will include personal research and
an oral presentation on the writing of the term
paper.
Prerequisite: CU Theories of art I
Schedule: J
st
semester 20J0-20JJ
Credits: 6
CU code: 60J3J
90 Course Catalogue Language Department 91
The coles Language Department, which opened
in Fall 2006, offers German, English, Spanish and
Italian courses, as well as French as a Foreign Lan-
guage (FLE). The fourishing development of inter-
national exchanges means that students must now
be able to speak several languages.
Foreign language study is compulsory for ENSBA
students at all levels and throughout their studies.
These courses also align cole curricula with Euro-
pean Union study program requirements.
French as a Foreign Language or FLE courses are
for regularly enrolled non-Francophone students
and exchange students. They are compulsory for
regularly enrolled non-Francophone students, who
must acquire strong skills in French to be able to fol-
low theoretical study courses, communicate in their
studio, and explain how they proceed artistically,
particularly to oral examination committees during
degree exams.
Teachers
June Allen
Daniela Capone
Jacques Caro
Damian Corcoran
Jacques Jeudy
Christel Parisse
David Reckford
Jeff Rian
Mark Robertson
Anke Spth
Laura Teruggi
Vronique Teyssandier
Course Units (CUs)
Beginning German I
Beginning German II
Intermediate/Advanced German I
Intermediate/Advanced German II
Beginning English I
Beginning English II
Intermediate English I
Intermediate English II
Advanced English I
Advanced English II
Beginning Spanish I
Beginning Spanish II
Intermediate Spanish I
Intermediate Spanish II
Advanced Spanish I
Advanced Spanish II
Beginning Italian I
Beginning Italian II
Intermediate/Advanced Italian I
Intermediate/Advanced Italian II
Beginning French-as-a-foreign-language (FLE) I
Beginning FLE II
Intermediate FLE I
Intermediate FLE II
Advanced FLE I
Advanced FLE II
Language Department
TAUGHT BY
Alain Bonfand, Pierre Bergounioux,
Jean-Franois Chevrier, Franois-Ren
Martin (coordinateur), Didier Semin
OBJECTIVES
Fourth-year students develop a detailed outline
for a theoretical research project, including biblio-
graphy and description of their working method,
with the aim of writing a research paper (mmoi-
re) to be defended to a jury in the J
st
semester of
their 5
th
year.
CONTENT AND METHODS
Students in their 4
th
year are invited to pursue and
deepen their study of one of the theoretical helds
taught at the school and to dehne a research topic
in that held.
They choose a topic and submit it to a relevant
theoretical study professor. The professors then
meet to evaluate the topics, deciding whether to
approve them and sharing out the work of super-
vising students projects. Each student will have a
research paper supervisor.
Students are required to attend general research
methodology sessions run by the coordinator;
these sessions present them with the bibliogra-
phical tools they need to pursue their research.
They are also encouraged to re-take their research
supervisors theoretical study course(s).
They will meet regularly with the research paper
supervisor.
ASSESSMENT
Students are assessed on the basis of a detailed
outline of their research paper and their written
introduction, as well as an interview with the re-
search supervisor.
They must show they have understood the issues
involved in the theoretical question they are hand-
ling.
The paper supervisor will evaluate students ana-
lytical and synthesizing capabilities as refected in
his or her initial research work and writing.
Year of study: 4
Prerequisite: 2 Theoretical study CUs in students
chosen research held
Schedule: J
st
or 2
nd
semester 20J0-20JJ
Credits: 6
CU code: 60J40
Research 1
Methodology and critical review
of research paper (mmoire) in progress
Research 11
Completing and defending
the research paper
TAUGHT BY
Alain Bonfand, Pierre Bergounioux,
Jean-Franois Chevrier, Franois-Ren
Martin (coordinateur), Didier Semin
OBJECTIVES
To hnish writing the research paper and defend it
to a jury. Students work must attest to his or her
mastery of a theoretical question, ability to formu-
late ideas and arguments effectively in writing and
present and defend them orally to a jury.
CONTENT AND METHODS
The aim is to complete the theoretical training that
students have been taking since they hrst came to
the cole. Alongside their overall artistic project,
this training will enable them to complete a fully
outlined and developed research project.
Students pursue their reading and the work of
documentation required to write their research
paper.
The general methodology sessions run by
the coordinating professor this semester are
specihcally aimed to prepare them to defend their
paper.
ASSESSMENT
To be based on students defense of his or her
paper to the research supervisor and another
theoretical study professor at the Ecole. Upon re-
search supervisors request, the Dean of Studies
may name a second, outside juror.
The jury will take into account the organization
and formal qualities of the paper and the quality
of students writing.
Year of study: 5
Prerequisite: CU Research I
Schedule: J
st
semester 20J0-20JJ
Credits: 6
CU code: 60J50
German
Beginning 1
German
Beginning 11
TAUGHT BY
Anke Spth
OBJECTIVES
To begin learning the four language skills in Ger-
man (oral and written expression, oral and writ-
ten comprehension), with the aim of practicing
the language in everyday situations and being
able to read and understand simple German texts.
To enable the student to acquire basic vocabu-
lary and practice the language in a non-specialist
context.
CONTENT AND METHODS
The fundamental features of German (sentence
construction, verb system, declensions, tenses) are
studied in context to acquire the communication
skills required for exchange in a living language.
Using audiovisual and written materials, students
will begin applying their basis acquisitions in
conversation, reading and writing.
Topics include introducing oneself and talking
about oneself; asking and answering questions;
making arguments; following a simple dialogue;
understanding, summarizing and writing simple
texts.
ASSESSMENT
Attendance is compulsory (no more than 3
absences).
Ongoing assessment and end-of-semester test.
Year of study: J; 2; 3; 4; 5
Semester of study: J; 3; 5; 7 or 8; 9
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Salles de Sminaire des Loges - see p. J85
Hours of student work: 56 hours in J
st
and 2
nd

year of study; 84 hours in 3
rd
, 4
th
and 5
th
year of
study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 700J0, 700JJ, 700J2 [J
st
, 2
nd
and 3
rd

year of study]; 700J3, 700J4 [4
th
and 5
th
year of
study]
TAUGHT BY
Anke Spth
OBJECTIVES
To consolidate and extend Jst-semester acquisi-
tions so that students can begin to describe and
analyze a written text and understand an oral dis-
cussion related to art. Emphasis is on group work,
the aim being to increase students self-conhdence
in speaking.
The aim in the second semester is to consolidate
by various means the grammatical knowledge and
vocabulary acquired in the J
st
semester.
CONTENT AND METHODS
Through play activities, students will learn to
express their ideas as clearly as possible and
to present coherent, logical arguments with the
linguistic tools at their disposal.
Much of the course will be devoted to increasing
knowledge of German grammar and syntax.
Enlarging vocabulary.
Discussing specihc art-related topics.
Listening to and analyzing recorded texts (rea-
dings, dialogues).
ASSESSMENT
absences).
Ongoing assessment and end-of-semester test.
Year of study: J; 2; 4
Semester of study: 2; 4; 7 or 8
Prerequisite: CU Beginning German I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
of study; 84 hours in 4
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 700J5, 700J6 [J
st
and 2
nd
year of study];
700J3 [4
th
year of study]
German
1ntermediate / Advanced 1
TAUGHT BY
Anke Spth
OBJECTIVES
To communicate comfortably in various subject
areas: art, German civilization, politics, social is-
sues and topics, German literature, contemporary
German hlm.
CONTENT AND METHODS
Enriching specialized vocabulary. Applying gram-
matical knowledge in various contexts.
Teaching is interactive and requires active,
regular participation from the student as well as
autonomous learning.
ASSESSMENT
absences).
3 grades: participation and oral expression, two
written tests in the course of the semester.
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd

rd
, 4
th
and 5
th
year of
study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 700J50, 700J5J, 700J52 [J
st
, 2
nd
and
3rd year of study]; 700J53, 700J54 [4
th
and 5
th

year of study]
German
1ntermediate / Advanced 11
TAUGHT BY
Anke Spth
OBJECTIVES
To develop hrst-semester acquisitions in such a
way as to attain prohciency in German.
To be able to partake in a discussion on a parti-
cular subject and clearly express ones point of
view. To read a relatively long and difhcult text.
To improve ones writing style by varying vocabu-
lary and sentence structure.
To understand an audio or audiovisual recording
with some ease (identify keywords so as to re-
constitute the overall meaning).
CONTENT AND METHODS
Texts, audio and visual materials will be used to
increase vocabulary. Grammar to be studied in
context since it assists in the four language skills:
written and oral expression, writing and listening
comprehension).
Emphasis will be on German and Austrian art mo-
vements and groups; also subjects suggested by
students.
Active participation required, and an oral presen-
tation.
ASSESSMENT
absences).
3 grades: participation and oral expression, two
written tests in the course of the semester.
Year of study: J; 2; 3; 4
Prerequisite: CU Intermediate / Advanced German I
Schedule: 2
e
semester 20J0-20JJ
st
and 2
nd

th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 700J55, 700J56 [J
st
and 2
nd
year of
study]; 700J53 [4
th
year of study]
English
1ntermediate Level 1
TAUGHT BY
June Allen, Damian Corcoran, Christel Parisse,
David Reckford, Mark Robertson
OBJECTIVES
To communicate in English in the art world context:
speaking with ease on art-related subjects,
learning to write clear texts and vary the language
used; reading specialized texts (identifying the
fundamental content of texts of varying lengths),
understanding with some ease the spoken
language used in oral presentations, recordings,
DVDs, etc.
CONTENT AND METHODS
Grammar: reviewing tenses, article use, like vs.
as; points to be determined by student needs.
Vocabulary: working to broaden and vary general
and art-related vocabulary; learning idiomatic
expressions.
We will use DVDs on museums and art-related
themes, and articles from the English-language
press on exhibitions throughout the world.
ASSESSMENT
3 absences).
Active participation, ongoing assessment, end-of-
semester test.
Prerequisite: English placement test and
Beginning English II
Schedule: J
st
semester 20J0-20JJ
Salles de sminaire des loges - see p. J85
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study]; 3 [3
rd
, 4
th

and 5
th
year of study]
CU code: 70020, 7002J, 70022 [J
st
, 2
nd
and
3
rd
year of study]; 70023, 70024 [4
th
and
5
th
year of study]
English
TAUGHT BY
June Allen, Damian Corcoran, Christel Parisse,
David Reckford, Mark Robertson
OBJECTIVES
To consolidate acquisitions from Intermediate
English Level I CU with the purpose of increasing
mastery of the language.
To communicate in English in the art world context:
speaking with ease on art-related subjects,
learning to write clear texts and vary language
used; reading specialized texts (identifying the
fundamental content of texts of varying lengths),
understanding with some ease the spoken
language used in oral presentations, recordings,
DVDs, etc.
CONTENT AND METHODS
Grammar: beginning to use modality; the future
and the conditional; "false friends.
Vocabulary: broadening and varying general and art-
related vocabulary; learning idiomatic expressions.
We will use DVDs on museums and art-related
themes, and articles from the English-language
press on exhibitions throughout the world.
ASSESSMENT
3 absences).
semester test.
Prerequisite: CU Intermediate English I
Schedule: 2
nd
semester 20J0-20JJ
Salles de sminaire des loges - voir p. J86
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70025, 70026 [J
st
and 2
nd
year of study];
70023 [4
th
year of study]
English
Beginning Level 1
TAUGHT BY
Damian Corcoran, Christel Parisse
David Reckford
OBJECTIVES
To communicate in English in such contexts as
travel, studio work and everyday life.
To become familiar with how English is spoken.
To get used to working in a group.
To write short texts: letters, e-mails, text messages,
poems, brief narratives.
To understand English through songs, hlms,
interviews, etc.
To acquire grammar basics.
CONTENT AND METHODS
Playful, varied communication activities.
Reading simple literary and art-related texts
(poems, songs, English press articles) and listening
to recorded texts (CDs, DVDs, videos).
Grammar exercises and games.
Everyday English: letters and numbers, introducing
oneself, my preferences, what I want or like, buying
train tickets, visiting apartments for rent, etc.
Vocabulary: colors, substances and materials,
shapes, descriptive adjectives, everyday objects.
Grammar: the present simple, can, syntax (order
of words in a sentence), questions in the present
simple.
Students work in groups, pairs or by themselves
on the four language-learning skills: speaking,
reading, listening, writing.
Group work is used to help students move toward
individual autonomy.
ASSESSMENT
Regular class attendance is compulsory (no more
than 3 absences).
Ongoing assessment and active participation.
Individual interview at semesters end; hnal written
test.
Prerequisite: English placement test
Schedule: J
st
semester 20J0-20JJ
st
et 2
nd
year
rd
, 4
th
et 5
th
year of study
Credits: 2 [J
st
and 2
nd
rd
, 4
th

and 5
th
year of study]
CU code: 700J0, 700JJ, 700J2 [J
st
, 2
nd
and
3
rd
year of study]; 700J3, 700J4 [4
th
and
5
th
year of study]
English
Beginning Level 11
TAUGHT BY
Damian Corcoran, Christel Parisse
David Reckford
OBJECTIVES
To communicate in English in contexts to be deter-
mined with students at the end of the J
st
semester.
To increase students self-conhdence when using
English.
To work in a group.
To know how to write simple texts.
To improve English comprehension (songs, hlms,
interviews).
To consolidate knowledge of grammar, particularly
English time notions.
To begin to use English as a creative and commu-
nication tool.
CONTENT AND METHODS
Discussions around a given theme.
Practicing overall comprehension by listening to
longer recorded texts (CDs, DVDs, videos).
Grammar exercises and games.
Short oral presentations about oneself and the
artwork one is currently doing.
Everyday English: suggesting solutions, asking
and giving instructions, telephoning.
Vocabulary for describing works of art (styles and
techniques), positions, useful verbs.
Grammar: present continuous and preterit, com-
parative forms of adjectives, prepositions of
movement and position.
ASSESSMENT
than 3 absences).
Ongoing assessment and active participation.
Individual interview at semesters end; hnal written
test.
Prerequisite: CU Beginning English I
Schedule: 2
nd
semester 20J0-20JJ
st
et 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
th
year
of study]
CU code: 700J5, 700J6 [J
st
and 2
nd
year of study;
700J3 [4
th
year of study]
Spanish
Beginning Level 1
TAUGHT BY
Jacques Caro
OBJECTIVES
To reach a level at which students can use and
comment on a document in Spanish, and to
practice the language in a context that does not
yet require specialized usage.
This course is the equivalent of Level AJ of the
Common European Framework of Reference for
Language Learning.
CONTENT AND METHODS
Using a variety of activities, many playful, to
enable students to express their ideas as clearly
as possible and argue logically and coherently
given the as yet limited linguistic tools at their
disposal.
Course work will consist primarily in training in
- overall comprehension of audiovisual documents;
- analyzing an iconographic document;
- how to apprehend a written text.
All documents studied will be related to the
Hispanic art world.
The various activities will enable students to acquire
basic knowledge about the Spanish-speaking art
world. A minimum of chronological and historical
facts will be provided as required.
ASSESSMENT
than 3 absences).
Ongoing assessment of active, primarily oral
participation.
A hle of written work to be turned in at the end of
the semester.
Prerequisite: Spanish placement test
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70040, 7004J, 70042 [J
st
, 2
nd
and 3
rd

year of study];
70043, 70044 [4
th
and 5
th
year of study]
Spanish
Beginning Level 11
TAUGHT BY
Jacques Caro
OBJECTIVES
To consolidate Beginning Spanish I acquisitions
and further develop skills to a level where students
can use and comment on a document in Spanish
and begin to speak the language in an art-related
context.
This course is the equivalent of Level A2 of the
Language Learning.
CONTENT AND METHODS
Using a variety of activities, many playful, to
enable students to express their ideas as clearly
as possible and argue logically and coherently
given the linguistic tools at their disposal.
Course work will consist primarily in training in
- overall comprehension of audiovisual documents;
- analyzing an iconographic document;
- how to apprehend a written document.
All documents studied will be related to the
Hispanic art world.
The various activities will enable students to acquire
basic knowledge about the Spanish-speaking art
world. A minimum of chronological and historical
facts will be provided as required.
ASSESSMENT
than 3 absences).
Ongoing assessment of active, primarily oral
participation.
A hle of written work to be turned in at the end of
the semester.
Prerequisite: CU Beginning Spanish I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70045, 70046 [J
st
and 2
nd
year of study];
70043 [4
th
year of study]
English
Advanced Level 1
TAUGHT BY
Damien Corcoran, Jeff Rian, Mark Robertson
OBJECTIVES
To communicate comfortably in English in the art
world context: to speak clearly, fuently and at
length, using an extended vocabulary; to construct
clear, well-argued written texts, using logical
relation markers; to read complex specialized
texts inde pendently and be able to identify their
subtleties; to understand a long oral presentation
(lecture, specialized talk) and cultural references
and allusions.
CONTENT AND METHODS
Grammar: phrasal verbs (look after, look at, look
for, etc.), modal auxiliary verbs (will, can, should,
could, etc.), prepositions.
Vocabulary: broadening and varying general and
art-related vocabulary (collocations).
We will use DVDs (art-related themes), essays in
art history, specialized press articles. This is an in-
teractive teaching approach; student participation
is essential. Students will give oral presentations.
ASSESSMENT
than 3 absences).
semester test.
Prerequisite: English placement test and
Intermediate English II
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70030, 7003J, 70032 [J
st
, 2
nd
and 3
rd

year of study];
70033, 70034 [4
th
and 5
th
year of study]
English
Advanced Level 11
TAUGHT BY
Damien Corcoran, Jeff Rian, Mark Robertson

OBJECTIVES
To consolidate and further develop acquisitions
from the Advanced English I CU. To communicate
comfortably in English in the art world context:
to speak clearly, fuently and at length using an
extended vocabulary; to construct clear, well-argued
written texts, using logical relation markers; to
read complex specialized texts independently and
be able to identify their subtleties; to understand
a long oral presentation (lecture, specialized talk)
and cultural references and allusions.
CONTENT AND METHODS
Students continue to increase their vocabulary and
their linguistic skills using a variety of different
audiovisual and textual materials: watching video
excerpts, hlms and documentaries; reading texts
by artists and art critics. These activities furnish
the occasion to further rehne the four basic skills:
speaking and writing, listening comprehension and
reading comprehension. Particular attention to
American museums and other art institutions.
ASSESSMENT
than 3 absences).
semester test.
Prerequisite: CU Advanced English I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70035, 70036 [J
st
and 2
nd
year of study];
70033 [4
th
year of study]
TAUGHT BY
Jacques Caro
OBJECTIVES
To communicate in Spanish on art matters and
the art world at a level approaching fuency.
To consolidate grammar and syntax acquisitions
in order to attain real autonomy in written and
oral comprehension and expression.
This course is the equivalent of Level CJ of the
Language Learning.
CONTENT AND METHODS
The themes taken up in class will focus on cultural
and artistic contexts, as well as more general
topics related to Spanish-speaking countries.
Considerable time will be devoted to interactivity
in the form of oral presentations and debates
around written, iconographic and audiovisual
materials.
ASSESSMENT
Ongoing assessment and a hnal exam in the form
of an individual interview.
Prerequisite: Spanish placement test and
Intermediate Spanish II
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70060, 7006J, 70062 [J
st
, 2
nd
and 3
rd

year of study];
70063, 70064 [4
th
and 5
th
year of study]
TAUGHT BY
Jacques Caro
OBJECTIVES
To consolidate and perfect acquisitions from CU
Advanced Spanish I in order to attain genuine
ease in written and spoken comprehension and
expression. To be able to elaborate an argument,
follow a lengthy formal talk, read complex texts
and identify the subtleties in them.
This course is the equivalent of Level C2 of the
Language Learning.
CONTENT AND METHODS
The themes taken up in class will continue to focus
on cultural and artistic contexts, as well as more
general topics related to Spanish-speaking coun-
tries; this semester they will be examined in yet
greater detail. Considerable time will be devoted
to interactivity in the form of oral presentations
and debates around written, iconographic and
audiovisual materials.
ASSESSMENT
Ongoing assessment and a hnal exam in the form
of an individual interview.
Prerequisite: CU Advanced Spanish I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70065, 70066 [J
st
and 2
nd
year of study];
70063 [4
th
year of study]
Spanish
Advanced Level 1
Spanish
Advanced Level 11
Spanish
TAUGHT BY
Laura Teruggi
OBJECTIVES
To rehne reading comprehension and writing while
reviewing basic grammar and syntax. To improve
speaking and listening comprehension using texts
and audiovisual material on contemporary art in
Spain and Latin America and on the process of
creating works of art.
This course is the equivalent of Level BJ of the
Language Learning.
CONTENT AND METHODS
A theme to be determined with the students so
that all can fully participate in class activities. Early
in the year students will be asked to present a
review of press articles and art and cultural events
in Paris involving Spanish-speaking countries.
ASSESSMENT
than 3 absences).
Questioning students individually or in groups
of two on reading they have done, exhibitions
visited or a subject of their choice, to assess their
progress and encourage them to speak Spanish
with each other.
Prerequisite: Spanish placement test and
Beginning Spanish II
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70050, 7005J, 70052 [J
st
, 2
nd
and 3
rd

year of study];
70053, 70054 [4
th
and 5
th
year of study]
Spanish
TAUGHT BY
Laura Teruggi
OBJECTIVES
To improve the reading comprehension and writing
skills of students who already know Spanish well.
We will use texts and audiovisual material on art
in Spain and Latin America to engage in more
advanced exchanges on themes that students are
particularly well versed in.
This course is the equivalent of Level B2 of the
Language Learning.
CONTENT AND METHODS
A theme to be determined with the students so
that all can fully participate in class activities. Early
in the year students will be asked to present a
review of press articles and art and cultural events
in Paris involving Spanish-speaking countries.
Students will also read artists writing and articles
and essays from Spanish-language art reviews.
ASSESSMENT
than 3 absences).
Students will be questioned individually or in groups
of two on reading they have done, exhibitions
visited or a subject of their choice, to assess their
progress and encourage them to speak Spanish
with each other. There will also be a short written
assignment, to be dehned with the teacher at the
start of the semester.
Prerequisite: CU Intermediate Spanish I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70055, 70056 [J
st
and 2
nd
year of study];
70053 [4
th
year of study]
1talian
1ntermediate/Advanced 1
1talian
1ntermediate/Advanced 11
TAUGHT BY
Daniela Capone
OBJECTIVES
To communicate comfortably in Italian in the
art world context; to be able to speak clearly,
smoothly and at length using a rich vocabulary.
CONTENT AND METHODS
Widening and varying students general and
art-related vocabulary. An interactive teaching
approach: students regular participation is crucial
and they will be required to give oral presenta-
tions and write papers.
ASSESSMENT
Attendance is compulsory (no more than 3 absen-
ces).
Active participation.
An ongoing assessment grade and a test of acqui-
sitions at the end of the semester.
Prerequisite: Italian placement test and
CU Beginning Italian II
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70080, 7008J, 70082 [J
st
2
nd
and 3
rd

year of study];
70083, 70084 [4
th
and 5
th
year of study]
TAUGHT BY
Daniela Capone
OBJECTIVES
To consolidate and further develop acquisitions
from CU Intermediate/Advanced Italian I in order
to improve language mastery. To construct and
write a clear argument; read complex specialized
texts independently, identifying their subtleties;
follow a lengthy oral presentation (lecture, spe-
cialized talk) and understand cultural allusions.
CONTENT AND METHODS
Students will work to further broaden their voca-
bulary and make further use of language tools,
already studied using different textual and audio
materials. They will also watch video excerpts and
documentaries and read texts written by artists
and art critics in order to hone the four language
skills: oral and written expression and compre-
hension. Particular focus on Italian museums and
art institutions. Compulsory student participation
in the form of oral presentations and papers.
ASSESSMENT
Attendance is compulsory (no more than 3 absen-
ces).
Active participation.
An ongoing assessment grade and a test of acqui-
sitions at the end of the semester.
Prerequisite: CU Intermediate Italian I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd

th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70085, 70086 [J
st
and 2
nd
year of study];
70083 [4
th
year of study]
1talian
Beginning Level 1
TAUGHT BY
Daniela Capone
OBJECTIVES
To begin to acquire the four basic language skills-
speaking and writing, listening comprehension and
reading comprehension-in Italian and thereby gain
access to textual, hlm and art-related documents;
to learn and practice the language used in
everyday and professional contexts.
CONTENT AND METHODS
Learning the fundamental notions of Italian
grammar and syntax in context so as to begin to
communicate and understand. We will use texts
and audiovisual material to practice basic skills
in conversation, reading and writing. Content
and themes: introducing oneself and speaking
about oneself, asking questions in a conversation,
understanding simple dialogue, the everyday
environment, writing a short text (e-mail), the
family, occupations, the city.
ASSESSMENT
than 3 absences).
Ongoing assessment grade and end-of-semester
test of acquisitions.
Prerequisite: Italian placement test
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70070, 7007J, 70072 [J
st
, 2
nd
and 3
rd

year of study];
70073, 70074 [4
th
and 5
th
year of study]
1talian
Beginning Level 11
TAUGHT BY
Daniela Capone
OBJECTIVES
To acquire the communication and comprehension
skills necessary to conversing in Italian.
To begin to understand original documents (tex-
tual, cinematographic, artistic, etc.) and improve
knowledge of professional and art-related Italian.
CONTENT AND METHODS
The course aims to improve students commu-
nication and comprehension skills in Italian;
It includes review and more detailed study of
grammar and syntax notions. Students will ana-
lyze audiovisual documents and texts to broaden
their vocabulary, practice conversation and be-
come familiar with how art and culture are spoken
and written about in Italian.
ASSESSMENT
than 3 absences).
Ongoing assessment grade and end-of-semester
test of acquisitions.
Prerequisite: CU Beginning Italian I
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70075, 70076 [J
st
and 2
nd
year of study];
70073 [4
th
year of study]
French as a foreign
languageFLE
For regularly enrolled non-Francophone students
and exchange students
TAUGHT BY
OBJECTIVES
To improve listening and reading comprehension
and speaking and writing skills, particularly as
they apply to the art held.
To improve knowledge of French grammar and
language structures.
To inform students about todays France and
introduce them to French university study rules.
CONTENT AND METHODS
Grammar points: modalities of the sentence, the
past and expressing time, the pronoun system.
Themes: living in Paris (places of culture and
leisure, stores, etc.); "Who are the French today?;
the press and political life.
We will use a grammar book with exercises, press
articles, songs, excerpts from literary texts.
ASSESSMENT
than 3 absences).
Ongoing assessment of grammar tests, oral pre-
sentations and written exercises. These grades
will be averaged with those for the hnal exam and
an individual work hle.
Prerequisite: CU Beginning FLE II and test
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70J20, 70J2J, 70J22 [J
st
, 2
nd
and 3
rd

year of study];
70J23, 70J24 [4
th
and 5
th
year of study]
French as a foreign
languageFLE
TAUGHT BY
OBJECTIVES
To improve listening and reading comprehension
and speaking and writing skills, particularly as
they apply to the art held.
To improve knowledge of French grammar and
language structures.
To start using French university study rules.
To begin developing argumentation skills.
CONTENT AND METHODS
Grammar points: the hypotheticals system, reported
speech, the subjunctive, the main coordinate and
subordinate conjunctions.
Themes: the place of art and the art of criticism/
description, analyzing and defending a work of art.
articles, songs, excerpts from literary texts and hlms.
ASSESSMENT
than 3 absences).
Prerequisite: CU Intermediate FLE I and test
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70J25, 70J26 [J
st
and 2
nd
year of study];
70J23 [4
th
year of study]
French as a foreign
languageFLE
Beginning Level 1
TAUGHT BY
Jacques Jeudy
OBJECTIVES
To develop comprehension and speaking skills in
order to facilitate students integration into the
cole and daily life in Paris.
To acquire fundamental notions of the grammar
and structure of the language.
To develop cultural skills and provide students
with basic knowledge of todays France.
CONTENT AND METHODS
Grammar points: introducing oneself and making
contact, asking questions, describing, owning,
telling a story in the past.
Themes: living in Paris (places of culture and
leisure, stores, etc.); "Who are the French today?
We will use a grammar book with exercises as well
as press articles, songs, excerpts from literary
texts and hlms.
ASSESSMENT
than 3 absences).
Ongoing assessment by means of grammar tests,
oral presentations and written exercises. These
grades will be averaged with those for the hnal
exam and an oral presentation.

Prerequisite: French placement test
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70JJ0, 70JJJ, 70JJ2 [J
st
, 2
nd
and 3
rd

year of study];
70JJ3, 70JJ4 [4
th
and 5
th
year of study]
French as a foreign
languageFLE
Beginning Level 11
TAUGHT BY
Jacques Jeudy
OBJECTIVES
To improve students comprehension and speaking
in order to further facilitate their integration into
the cole and daily life in Paris.
To improve their knowledge of the grammar and
structure of the language.
To continue developing cultural skills and provide
students with further knowledge of todays France.
CONTENT AND METHODS
Grammar points: projecting oneself into the future,
expressing time in French, the pronoun system.
Themes: the press and French political life; the
place of art.
articles, songs, excerpts from literary texts and
hlms.
ASSESSMENT
than 3 absences).
Ongoing assessment by means of grammar tests,
oral presentations and written exercises. These
grades will be averaged with those for the hnal
exam and an oral presentation.

Prerequisite: CU Beginning FLE I and test
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70JJ5, 70JJ6 [J
st
and 2
nd
year of study];
70JJ3 [4
th
year of study]
104 Study and training outside the cole 105
Study and training outside the cole constitute an
integral part of students program of studies, and
one or the other is compulsory in the 4
th
year. After
completing the J
st
cycle, 4
th
-year students move
into the outside world, doing either a professional
internship or a study abroad program in their 7
th
or
8
th
semester. The aim is for students to learn to work
on and develop their art more independently.
3
rd
-year students may substitute a J-month pro-
fessional training period for J technical skills CU
if the work is related to students general artistic
project.
Contacts, information and forms
Service de la vie scolaire (Scholastic Affairs Ofhce):
Carole Cronne, Herv Le Bail
Professional internships and training periods:
Patricia Kalensky, the Mdiathque
Study abroad programs:
Laurence Nicod and Monique Le Souf,
Service des relations internationales
(International Relations Ofhce)
Course Units (CUs)
3
rd
-year professional training period
4
th
-year professional internship
4
th
-year study abroad program
Study and training
outside the cole
French as a foreign
languageFLE
Advanced Level 1
TAUGHT BY
Jacques Jeudy
OBJECTIVES
To further develop the argumentation skills required
for describing, analyzing and defending a work
of art. To further develop the knowledge of logic
conjunctions and language structures needed for
argumentative discourse.
To practice using formal rules when making oral
presentations and writing essays.
CONTENT AND METHODS
Grammar points: review of past tenses and the
pronoun system, hypotheticals, reported speech,
the subjunctive, comparisons.
Themes: to be determined in relation to projects
that students have completed or are working on.
Textbook: "Comment dire? Raisonner la franaise
(photocopy); articles and literary texts.
ASSESSMENT
than 3 absences).
Prerequisite: CU Intermediate FLE II and test
Schedule: J
st
semester 20J0-20JJ
st
and 2
nd
year
rd
, 4
th
and 5
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [3
rd
, 4
th
and 5
th
year of study]
CU code: 70J30, 70J3J, 70J32 [J
st
, 2
nd
and 3
rd

year of study];
70J33, 70J34 [4
th
and 5
th
year of study]
French as a foreign
languageFLE
Advanced Level 11
TAUGHT BY
Jacques Jeudy
OBJECTIVES
To further develop the argumentative skills required
for describing, analyzing and defending a work
of art. To further develop the knowledge of logic
conjunctions and language structures needed for
argumentative discourse.
To develop rhetorical skills and the ability to
persuade an audience.
To practice using formal rules when making oral
presentations and writing essays.
CONTENT AND METHODS
Grammar points: expressing purpose, causes,
consequences; opposition and concession.
Themes: to be determined in relation to projects
students have completed or are working on.
Textbook: "Comment dire? Raisonner la franaise
(photocopy); articles and literary texts.
ASSESSMENT
than 3 absences).
Prerequisite: CU Advanced FLE I and test
Schedule: 2
nd
semester 20J0-20JJ
st
and 2
nd
year
th
year of study
Credits: 2 [J
st
and 2
nd
year of study];
3 [4
th
year of study]
CU code: 70J35, 70J36 [J
st
and 2
nd
year of study];
70J33 [4
th
year of study]
106 Course Catalogue
Professional
training period
1
st
cycle, 3
rd
year
TAUGHT BY
Professional training period supervisor
OBJECTIVES
To facilitate students integration into the art-
related professional world and enable them to
develop contacts.
To open up new perspectives for students through
the experience of working in an outside professional
context.
For students to acquire new practical, technical
and/or theoretical skills.
CONTENT AND METHODS
Students do their professional training periods
in France or abroad in cultural or art institutions
(museums, galleries, art centers, art schools,
etc.) or companies (new technologies, graphics,
production, fashion, etc.).
Professional training periods are for a minimum of
J40 hours = J month working full time or 2 months
working half time.
Students look for the professional training period
opening either themselves or with assistance from the
Mdiathque (see p. J25). They propose a project
for approval by the Dean of Studies. A formal agree-
ment is signed with the institution or company
the student will work in.
After the professional training period, students
hand in a typed report of no fewer than 8 pages
that includes:
- a description of the professional training situation,
- indication of tasks performed and how the
training period progressed,
- students opinion of the value of the training for
his or her future professional life in the arts,
possible avenues opened by it,
- optional: photos, illustrations, bibliography, etc.
Contact: Astrid Vicherat at the Mdiathque,
astrid.vicherat@beauxartsparis.fr

ASSESSMENT
The quality of students professional training
report is assessed by two Mdiathque supervisors
and an cole professor; hnal CU validation by the
Dean of Studies.
Year of study: 3
Semester of study: 5 or 6
Prerequisite: none
Schedule: determined by training period
Credits: 6
CU code: 800J0
Professional
internship
2
nd
cycle, 4
th
year
TAUGHT BY
Professional internship supervisor
OBJECTIVES
To facilitate students integration into the art-
related professional world and enable them to
develop contacts.
For students to acquire a host of new skills: practical,
technical, theoretical and in matters of project
management, team work, team work organization.
While continuing to move forward in their personal ar-
tistic undertaking, students develop their professional
prospects through a relatively long work experience.
CONTENT AND METHODS
Students do their professional internships in France
or abroad in cultural or art institutions (museums,
galleries, art centers, art schools, etc.) or companies
(new technologies, graphics, production, fashion,
etc.).
Professional internships are for a minimum of
350 hours = 2
J
/2 months working full time or
5 months working half time.
Students look for a professional internship opening
either themselves or with assistance from the
Mdiathque (see p. J25). They propose a project
for approval by the Dean of Studies. A formal
agreement is signed with the institution or
company the student will work in.
After the professional internship, students hand
in a typed report of no fewer than J5 pages that
includes:
- a description of the professional internship
situation,
- indication of tasks or roles performed and how
the internship was organized and progressed,
- students opinion of the value of the training
for his or her future professional life in the arts,
possible avenues opened by it,
- optional: photos, illustrations, bibliography, etc.
Contact: Astrid Vicherat at the Mdiathque,
astrid.vicherat@beauxartsparis.fr
ASSESSMENT
The quality of students professional internship
report is assessed by two Mdiathque supervisors
and an cole professor; hnal CU validation by the
Dean of Studies.
Year of study: 4
Prerequisite: none
Schedule: determined by internship
Credits: 20
CU code: 80020
Study and training outside the cole 107
Study abroad
program
2
nd
cycle, 4
th
year
TAUGHT BY
Professors at the receiving art school and
studio professor
OBJECTIVES
For students to experience a different geographical,
social and cultural context, outside the usual cole
framework, in a study abroad program at one of
the coles partner art schools.
For students to enrich their knowledge and artistic
work through this experience abroad, and learn to
work more independently.
CONTENT AND METHODS
Every year, 45 to 50 fourth-year students have the
opportunity to study abroad on an cole scholarship
at one of the coles sixty partner art schools.
Students travel for 4 months either to another
European Union country on an Erasmus/Socrates
scholarship, or to a foreign country on a Colin-
Lefrancq scholarship.
In February each year, a committee meets to
examine the records of 3
rd
-year students wishing
to apply to study abroad in their 4
th
year. The
committee determines the list of scholarship
winners and where they will be sent. Foreign
students admitted into the 3
rd
year of studies are not
eligible for the study abroad program because they
need to become integrated into their new school
environment. Students departure is contingent
on their admission to 4
th
year (obtention of the
J
st
-cycle degree and admission into the 4
th
year
of study) and agreement by the receiving school.
Before students leave, a "learning agreement is
drawn up to plan their program of study at the
foreign school. When they return, students hand
in their learning agreement validated by the
receiving school, and a detailed report on their stay.
For further information contact the Service des
relations internationales (International Relations
Ofhce), see p. J26.
ASSESSMENT
Students assessed on fulhlment of learning agree-
ment and credits obtained at receiving school; studio
professor assesses quality of students report. Detailed
information available at the International Relations
Ofhce. Final CU validation by the Dean of Studies.
Year of study: 4
Prerequisite: committee approval
Schedule: determined by study abroad program
Credits: 20
CU code: 80030
108 5
th
-year seminars 109
The purpose of the 5
th
-year seminars is for
advanced students to be confronted with and
respond to multiple points of view in the crucial
year of preparation for the DNSAP degree
examination. The seminars include both theory and
experimentation, in order to help students further
develop research and analytical methods that they
can apply and use in their own creative work.
Taught by recognized specialists from the artistic,
cultural and academic worlds, the seminars are a
complement to studio work and provide students
with a different way of viewing that work.
Every seminar is in two parts, corresponding to
the two consecutive semesters 9 and J0, and
must be taken for the whole year.
Professors
Pierre Alferi
Jacques Aumont
Daniel Dobbels
Elie During
Didier Semin
Course Units (CUs)
Meaning and line I
Meaning and line II
Matter of images and powers of the hgure I
Matter of images and powers of the hgure II
Dance and the visual arts I
Dance and the visual arts II
Faites vos jeux I
Faites vos jeux II
Caricatures, cartoons and press drawings I
Caricatures, cartoons and press drawings II
5
th
-year seminars
Meaning and line 1
TAUGHT BY
Pierre Alferi
OBJECTIVES
This seminar invites students to probe the
signifying powers of line in both their own practice
and at the periphery of the visual arts held, where
writing and drawing are intertwined. While the arts
of the Far East fower around precisely this graphic
free-zone, the West relegates it to the margins.
And yet it is in that zone that our written forms
and typographies have prospered, together with
the word/picture yokings whose conventions were
studied by Meyer Schapiro. The semantics of the
line suggest a similarity between grafhti and cave
paintings, decorated initials and logos, concrete
poetry and shop signs, phylacteries and comic-
book speech balloons, tattoos and heraldry, William
Blake and Ed Ruscha; a semantics nourished by
"absurd paintings, pictures over doorways, stage
sets, carnival backdrops, billboards, bright-colored
prints (Rimbaud, Une Saison en enfer, trans.
P. Schmidt). If this semantics appears fragmented
and is unlikely to be systematically explored, that
is because it encompasses what is (obviously) a
vacillation between linear text and simultaneous
image.
CONTENT AND METHODS
The semantic role of the line, its inner workings,
wellsprings and ambiguities, may be observed
in both the verbal margins of an image and the
visual incarnation of a text. To orient ourselves
in this graphic labyrinth, we will proceed through
a series of clarihcations, adapting in each class
session a new conceptual tool borrowed from one
of the relevant helds: anthropology, history of art
and technology, the rhetoric of vision.
ASSESSMENT
Students are assessed on their active participation
in the seminar and a succinct written analysis of
an object of their choosing.
Year of study: 5
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Tuesday afternoons - Salle de Sminaire
des Loges JD - Specihc schedule
Credits: J2
CU code: 90060
Meaning and line 11
TAUGHT BY
Pierre Alferi
OBJECTIVES
In the second semester, we will further hone the
theoretical tools presented in the hrst semester,
concentrating on interpretations of exemplary
images and signs (drawings, pictograms, logograms,
etc.).
CONTENT AND METHODS
Students will be shown singular art and popular
art objects and asked to describe them-a means
of testing the dehnitions and distinctions they use.
They are invited to include their own productions
among these objects.
ASSESSMENT
Students are assessed on their active participation
in the seminar and on individual interviews where
they will be asked to further develop the content of
that participation.
Year of study: 5
Prerequisite: CU Meaning and line I
Schedule: 2
nd
semester 20J0-20JJ
Tuesday afternoons - Salle de Sminaire
Credits: 5
CU code: 9006J
5
th
-year seminars 111
Matter of images and
powers of the gure 1
What are images made of?
TAUGHT BY
Jacques Aumont
OBJECTIVES
To ensure that students become attentive to what
an image is in and of itself. Whether it be a drawing,
painting, photograph, hlm, infograph, or any other
type, an image is always an artefact produced for
the purpose of evoking a world.
Evoking a world does not necessarily mean
representing it, and there has never been any
absolute requirement that images be mimetic. On
the other hand, images, including abstract ones,
have always been the locus of a labor of hguration
wherein form is imparted to matter. Throughout
this year-long seminar, we will be focusing on
these two dimensions of images.
CONTENT AND METHODS
The question What are images made of? is an
open one, touching not so much on what an image
can represent as what it can contain and what un-
derstanding it can refect.
There is no pre-determined program for this hrst
semester; we will be exploring the variety of
powers that hgures have and the games they can
play with or against matter.
Participation in the seminar is essential. Students
will be expected to suggest interesting topics of
study at each class session (related to the trajec-
tory of the seminar), topics that should also pertain
as fully as possible to their own artistic practice.
ASSESSMENT
Based on active participation and students perso-
nal work in the seminar.
Year of study: 5
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursday mornings - Salle de Sminaire
Credits: J2
CU code: 90090
Matter of images and
powers of the gure 11
Matter in movement
TAUGHT BY
Jacques Aumont
OBJECTIVES
The seminar continues along the same lines and
with the same aims as in the hrst semester.
CONTENT AND METHODS
In this second semester we will focus on a more
specihc (yet vast) question, that of movement,
considered in relation to the hgure and the matter
the image is made of.
There are many ways for images to produce
movement, some perceptible, others not. I will
put forward my own typology, but as in the hrst
semester, the seminar can only function through
student participation and contribution.
ASSESSMENT
Based on students active participation in the
seminar, and his or her critical analysis of own
work from one of the perspectives studied over
the year.
Year of study: 5
Prerequisite: CU Matter of images and powers of
the hgure I
Schedule: 2
nd
semester 20J0-20JJ
Thursday mornings - Salle de Sminaire
Credits: 5
CU code: 9009J
Dance and the visual arts 1
TAUGHT BY
Daniel Dobbels
OBJECTIVES
That in the course of students work, exploration and
experimentation, and in keeping with the various
moments that materialize their object, the dialogue
between student and teacher will prove a means of
discerning and substantiating the "unknowns watch
that over the necessity of that object, a necessity at
once unique, familiar, and strange enough that no
interpretation can dehnitively alienate or reduce its
meaning, which is the future.
"Reconnatre en soi ce quon ne se connaissait
pas - Henri Michaux.
CONTENT AND METHODS
The contribution of knowledge specihc to contem-
porary dance can provide special access to what
is more or less explicitly in motion in the students
personal exploration and experimentation, whatever
the medium. The themes in this class will all center
on the question of space, the body and the relation
to the object, and may give rise to experimentation
in the form of dance.
Thus dehned, the method primarily involves duly,
implicitly respecting the matter and tenor of student
work and the project the student has undertaken.
The content of that work and project, even if
latent, will bear being approached from several
different angles: theoretical, refexive, practical and
experimental. The interactions of these different
views will allow for apprehending the most incisive-
the most alive-features of the work.
ASSESSMENT
Regular attendance and students involvement in
experimentation suggestions.
Formalization assignment to be dehned with the
professor.
Year of study: 5
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Monday mornings - Salle de Sminaire
Credits: J2
CU code: 90020
Dance and the visual arts 11
TAUGHT BY
Daniel Dobbels
OBJECTIVES
To recenter and condense the intuitions shaped in
the course of the J
st
semester and grasp those that
are most important for successfully attaining-
realizing-the degree.
CONTENT AND METHODS
Collective and individual work meetings.
ASSESSMENT
Regular attendance.
Student will produce a synthetic formalization linked
to his or her singular artistic production.
Year of study: 5
Prerequisite: CU Dance and the visual arts I
Schedule: 2
nd
semester 20J0-20JJ
Monday mornings - Salle de Sminaire
Credits: 5
CU code: 9002J
5
th
-year seminars 113
TAUGHT BY
Elie During
OBJECTIVES
To become familiar with how games (jeux) are
conceived in different disciplines while exploring
the actual diversity of human (and animal) games,
with particular attention to their (real or virtual)
use in art.
CONTENT AND METHODS
On the basis of works and research in anthropology,
sociology, psychology, philosophy, esthetics and
mathematics together with several case studies
(from ball games to video games, from Water Yam
to the War Game, and so forth), we will work to
formulate a few interdisciplinary questions: What
is a rule? Whats a game move? How does the
game space function? What is simulation and how
do we recognize it? These questions exceed the
subject of socially instituted games. But to avoid
the trap of the all-encompassing game metaphor
(everything can be considered from a play
perspective so virtually everything can be thought
of as a game), we will be constantly attentive to
constructions; that is, the operations, proceedings,
moves by which we recognize a game as a game.
It is from this perspective that we will ask what an
unplayable game is. And can one play without
playing a game?
ASSESSMENT
Students involvement will be assessed in terms of
their active investment in the matter of the course
and the questions it raises. Each student will give
an oral presentation on a game of his or her
choosing, an artwork with a game-like aspect to it
or a work that presents or inquires into this
dimension.
Year of study: 5
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Monday afternoons - Salle de Sminaire
Credits: J2
CU code: 90080
TAUGHT BY
Elie During
OBJECTIVES
To pursue the inquiry begun in the J
st
semester,
focusing this time on artistic modes of interven-
tion that construct or disrupt game setups.
CONTENT AND METHODS
We will work to specify the strategies used by ar-
tists who turn to games or play to produce works
and performances, thereby incurring the risk of
diminishing or blurring the critical power of their
work. What games are they playing? Are they
really playing? We will try to imagine new inter-
sections and interloopings between art and ga-
mes-and why not nouveaux jeux (new games)
while were at it?
ASSESSMENT
Student participation in discussions, quality of
their talks and presentations of their work.
Year of study: 5
Prerequisite: CU Faites vos jeux I
Schedule: 2
nd
semester 20J0-20JJ
Monday afternoons - Salle de Sminaire
Credits: 5
CU code: 9008J
Faites vos jeux 1 Faites vos jeux 11
Caricatures, cartoons
and press drawings 1
TAUGHT BY
Didier Semin
OBJECTIVES
To explore with students the theory and practice
of captioned drawings and caricatures (with the
understanding that the term is difhcult to dehne
and covers a set of different practices ranging
from caricatures to the delightfully absurd images
published in the New Yorker). From Tppfer and
Duchamp to contemporary artists such as Glen
Baxter and David Shrigley, caricature has marked
what are known as the learned or high-brow arts
and continues to do so, while being considered a
minor art with its own independent history. We
will examine in critical detail the connecting lines
between major and minor, how hierarchies are
determined.
CONTENT AND METHODS
In this seminar, which is obviously but not exclusi-
vely designed for students specializing in drawing,
our time will be fairly evenly divided between
theoretical presentations (on great caricaturists
and captioned-drawing masters, possibly on works
conserved in the coles collections), and pratical
exercises (themes to draw around-e.g., a caption
without a drawing or the reverse, drawn reactions
to a given event, pastiches, etc.).
ASSESSMENT
Joint professor-student assessment at the end of
the semester.
Year of study: 5
Prerequisite: none
Schedule: J
st
semester 20J0-20JJ
Thursday afternoons - Salle de Sminaire
Credits: J2
CU code: 90040
Caricatures, cartoons
and press drawings 11
TAUGHT BY
Didier Semin
OBJECTIVES
To consolidate J
st
-semester acquisitions.
CONTENT AND METHODS
Emphasis in the 2
nd
semester will be on practice
and exploration of avenues identihed in J
st
-semester
discussions and exercises.
ASSESSMENT
Joint professor-student assessment at the end of
the semester.
Year of study: 5
Prerequisite: CU Caricatures, cartoons and press
drawings I
Schedule: 2
nd
semester 20J0-20JJ
Thursday afternoons - Salle de Sminaire
Credits: 5
CU code: 9004J
115
118 Programme La Seine
The coles La Seine research program runs for
two consecutive years and is designed for young
French and foreign artists who have recently made
their appearance on the art scene. It is headed by
Tony Brown, an artist professor at the cole.
The program aims to provide each artist who joins
it with the means to develop in a professional
context a project that he or she has already
begun work on. Its position within the cole allows
participants to make the most of the rich, varied
approaches and artistic practices available at the
cole.
The programs educational approach hinges on
exchange of knowledge and skills involved in artistic
thought and practice. In addition to broadening
students knowledge, the program is organized in
such a way as to ensure that they do their creative
work in professional conditions-namely at the
theoretical level, during the research seminar.
The group dynamic and the interactive nature of
the program encourage artists to "compare notes
on their individual studio practices and exercise
their critical faculties together. Meetings with
accomplished artists and professional practitioners
of contemporary art are a stimulating, enriching
experience for aspiring artists.
Group projects may be developed outside the cole,
possibly on the occasion of a group trip abroad,
aimed to open up new artmaking perspectives in a
different cultural context, or through collaboration
with institutions abroad such as the London Royal
College of Art.
Activities and activity schedule
The Programme La Seine curriculum runs for two
8-month periods, from October to June.
Beginning in academic year 20J0-20JJ, a new
curriculum has been put in place; see p. J20
and J2J for specihcs on program organization by
semester and schedule.
The following regular activities will be held:
- a research seminar run by a guest participant
on a specihc research topic;
- meetings with guest artists, exhibition
organizers, art critics and other professionals;
- presentations by each Programme student of
developments in their work, followed by critical
discussion;
- individual meetings with Tony Brown for
students to discuss how their work is evolving;
- meetings to organize collective Programme life
and projects.
Attendance at these sessions, which are supervised
by Tony Brown, is compulsory for all participants.
Programme La Seine artists have access to the
coles computer facilities, loans of technical and
other production equipment, and professional
advice from heads of the various technical
workshops (woodworking, metalworking, photo-
etching, digital imagery, photography, video and
sound recording). They are also invited to take
part in the educational life of the cole, particularly
to assist in assessment of regular cole students,
sit on examining committees, offer occasional
tutoring.
To ensure that the program runs smoothly, each
participant is expected to take charge of certain
projects and to share responsibility for the physical
operation of our studio.
Selected candidates will receive a research and
project grant of up to C 3000 per year, depending
on the extent of their participation in the program.
They will have access to technical, logistic and
material resources for producing their own works.
Exhibitions in France and abroad may also be held
in the framework of the Programme La Seine.
At the end of the two-year program, each young
artist is responsible for organizing a personal
exhibition.
Programme La Seine
Programme La Seine 119
Admission requirements
Every year 5 or 6 new applicants are selected.
Applicants must have a French or foreign Masters
degree or the equivalent, awarded at least a year
before they apply. During the intervening year
or more, the applicant needs to have developed
his or her artistic practice outside the academic
sphere.
Candidates are admitted to La Seine after a pre-
selection screening of their hles and portfolios
and an interview with the admissions committee,
made up of personalities from the art world. The
jury is particularly attentive to
- the quality and artistic maturity of the work
presented;
- candidates ability to contextualize his or her
overall artistic project and convincingly explain
the connections between his or her artistic
project and the research project;
- level of candidates artistic and theoretical
knowledge;
- candidates ability to propose avenues for
further development of his or her work.
Selected candidates who are not prohcient in
French will have to enroll in one of the Ecoles
French as a Foreign Language courses (FLE).
Lastly, La Seine members commitment to and
effective participation in program activities will be
reviewed at the end of the J
st
year to determine
whether they may re-enroll for the 2
nd
year.
An information brochure and application forms for
the 20JJ-20J2 session will be available in March
20JJ at the latest.
Programme La Seine Director: Tony Brown
Teachers: Patrick Raynaud, Paul Sztulman
Coordinator: Vincent Gonzalvez
Tel: 0J 47 03 54 0J
laseine@beauxartsparis.fr
www.beauxartsparis.fr/laseine
Information also available at the Accueil scolarit
of the Service de la vie scolaire (Registrars Ofhce
of the Scholastic Affairs Ofhce):
Tel: 0J 47 03 50 59 / 50 65
120 Programme La Seine Programme La Seine 121
CU La Seine 111 CU La Seine 1 CU La Seine 11 CU La Seine 1V
TAUGHT BY
Tony Brown, director,
Patrick Raynaud, Paul Sztulman, teachers
guest participants
OBJECTIVES
For students to dehne the methodology of their
artistic investigation, what held it will cover and
how it will develop, together with an art produc-
tion schedule. Each must also choose a theoreti-
cal research topic, to be studied throughout the
program; research acquisitions and conclusions
are to be integrated into the publication that will
accompany students hnal exhibition.
CONTENT AND METHODS
Centered around refection and exchange, this se-
mester will be a time for methodological, concep-
tual and artistic exploration and research. It in-
cludes a theoretical seminar to be run by a guest
participant, aimed at raising methodological ques-
tions related to students artistic work. The semi-
nar should also work to develop each students
personal culture. Individual project follow-up ses-
sions will be scheduled with the Programme La
Seine teaching team, and each student will pre-
sent his or her work to the group; student presen-
tations to be followed by critical debate.
ASSESSMENT
This phase to be assessed with the director of the
Programme La Seine.
Year of study: J-J
Prerequisite:Masters II degree (2
nd
-cycle) or
equivalent
Credits: 30
CU code: J0JJ0
TAUGHT BY
guest participants
OBJECTIVES
For students to begin to develop the exhibition
project they will realize in the second year, as well
as the conditions for producing art works and pre-
senting them on a professional site.
They must also design an outline and editorial ap-
proach for the publication that will accompany this
exhibition project, and begin determining what
partners will participate in the project.
CONTENT AND METHODS
Students engage in a process of planning and
producing works of art. Meanwhile, they are ac-
quiring solid knowledge of todays professional art
world that will help them realize their individual
exhibition and publication projects. To this end,
there will be a weekly program of meetings with
guest participants, all personalities of the current
art world: outside artists, exhibition organizers,
contemporary art critics.
This follow-up is enriched with regular individual
dialogue with the Programme La Seine teaching
team and collective collaboration with a relevant
partner institution.
ASSESSMENT
Students present the art works they have produced
during the year, their exhibition and publication
projects, and the results of the theoretical research
they are conducting to a jury made up of the Pro-
gramme La Seine director, a Programme teacher
and an outside art world personality.
They must individually demonstrate the relevance
and feasibility of their project from artistic, theore-
tical and professional perspectives. They must also
demonstrate that their artistic practice has develo-
ped and matured over this hrst year, together with
their theoretical thinking.
The jury will assess individual students ability to
complete their project during the second year.
The jury will also assess how well students express
themselves in French.
Year of study: J-J
Prerequisite: CU La Seine J
Credits: 30
CU code: J0J20
TAUGHT BY
guest participants
OBJECTIVES
For students to pursue their artistic production
and management of all parameters involved in
preparing their exhibition in the professional
partners exhibition space.
To prepare the accompanying publication and the
conclusions of their theoretical research study.

CONTENT AND METHODS
Intensive production and hnalizing of agreements
with the various partners involved in the exhibi-
tion project (art center directors, gallery owners,
curators or exhibition organizers, etc.) and the
accompanying publication (critics, art historians,
curators, graphics designers, etc.).
Writing of texts related to students theoretical
research.
Students are accompanied in these undertakings
both individually and through collective presenta-
tions of their work, to be followed by critical de-
bates. They may also attend this years research
seminar and the meetings with art personalities
scheduled throughout the semester.
ASSESSMENT
Individual assessment with the director of the
Programme La Seine of students progress in
producing art and preparing their publication.
Year of study: J-2
Prerequisite: CU La Seine 2
Credits: 30
CU code: J0J30
TAUGHT BY
guest participants
OBJECTIVES
Realizing an exhibition accompanied by a public-
ation in a professional site, so as to obtain the
Diplme de Recherche (research degree) La
Seine.
CONTENT AND METHODS
Students make hnal adjustments to their art pro-
duction and exhibition plans.
They complete the texts related to their theore-
tical research, which may be integrated into the
publication.
They produce the publication.
They prepare to defend their project to a jury;
also preparing additional documents if necessary.
ASSESSMENT
The Diplme de Recherche La Seine research de-
gree is awarded after students defend their work
to a jury made up of the Director, the director
of the Programme La Seine, an artist-teacher at
the Ecole and two outside art world personalities
chosen by the Ecole director upon a proposal from
the student.
Students must demonstrate through their indivi-
dual exhibition and publication that their artistic
practice has developed formally and theoretically
and that they have enhanced their ability to
integrate themselves into the current artistic
landscape.
Year of study: J-2
Prerequisite: CU La Seine 3
Credits: 30
CU code: J0J40
Cultural Events
124 Cultural Events
The coles Cultural Events program encompasses
all artistic disciplines and dovetails with current
life and study programs at the school, while
facilitating students exploration of all domains of
contemporary artistic creation. It is coordinated
with cole exhibitions and publications.
A variety of talks, seminars, meetings and
conferences are regularly scheduled with artists,
art historians, critics and other professionals of
the worlds of art and culture. The program is
put together in collaboration with cole studios,
departments and sections and with the Programme
La Seine, also in response to proposals from
students, and with museums and other cultural,
artistic and academic institutions.
Friday afternoons are reserved for encounters with
artists. Some events are organized jointly with
the Digital Technologies Section and will focus on
the new media, photography and the presence of
sound in art.
Choreographers, scenographers, composers, poets
and hlmmakers whose works explore or are othe-
rwise relevant to the visual arts will also be invited
over the year, in connection with events at Paris
galleries, theaters and cinemas.
In the video-screening program, students have the
opportunity to meet with guest video artists and
hlmmakers, critics, theorists, specialists of expe-
rimental hlm and video, and distribution structure
professionals. Approximately J00 hlms are shown
each year, including a high proportion of alter-
native productions: artist videos, documentary
hlms, dance videos, performances, concerts, etc.
Thanks to the coles partnerships with video and
hlm festivals, artist networks, director and distri-
butor networks, we are able to invite independent
groups and event organizers to present programs
of their choice, thus directly involving the cole in
specihc art video events and making it possible to
screen an international selection of experimental
works.
By renewing and diversifying practices, approa-
ches and writings connecting the worlds of new
hlm and contemporary art, the video and hlm
program takes into account the processual and
performative aspect of works, their transversal
nature, the artists social experimentation and
engagement. The Ecoles participation in the Mois
du Film Documentaire brings to light ties between
social issues and the way contemporary art pro-
bes those issues, working on the borders between
hlm and video, experimentation and documentary
presentation.
By extending screenings and meetings with artists
and relevant actors, by being ever on the look-out
for new acquisitions for the Ecoles collection of
audiovisual material, we are enriching the Mdia-
thque with new video hlms available for student
consultation.
In the J
st
semester, several personalities will be
speaking in a series of 5 lectures intitled Psycha-
nalyse, art et image run by Alain Vanier, professor
and research director at Paris Diderot-Universit
de Paris 7. The lecture series will culminate in a
conversation with an Ecole artist-faculty member.
The Vie professionnelle series of talks and encoun-
ters informs students about the professional art
world, how it works, and new professional art
issues. This year, in addition to an introduction
to management and a presentation at the Mai-
son des Artistes, a number of exhibition organi-
zers, gallery operators and protagonists of new
expression and exhibition spaces will be invited
to speak.
The Cultural Events Ofhce plans a series of visits
to exhibitions for J
st
-year students and regularly
makes information on current art events availa-
ble to them. In addition, cole students who have
done a foreign exchange program with one of the
coles partner art schools will be invited to pre-
sent their experiences.
The Cultural Events program and schedule is
regularly announced every month and throughout
the semester.
The Mdiathque
A research and information center on
contemporary art
The Mdiathque is a center for consulting visual,
audio and textual materials either directly or on
line. The up-to-date information on contemporary
artistic creation and its contexts available at the
Mdiathque is fundamental for training young
artists and integrating them into the art profession
and work world. The Mdiathques research
resources pertain primarily to contemporary art,
but it also has fundamental art history reference
works on western and non-western art and in
the humanities as well as material on current art
debates-resources that will enable students to
put todays art and art issues into perspective.
These materials taken together make possible
a transversal, cross-disciplinary approach to
the issues and problematics running through
contemporary creation from the J960s to today.
The core of the Mdiathques collections is
made up of monographs on 20
th
and 2J
st
-century
artists and includes approximately J00 specialized
journals and reviews, fundamental sources of
information on young artists work, current debates
and exhibitions. The Mdiathque also provides
access to information by discipline, chronology and
geographic location. And it offers a considerable
collection of collective exhibition catalogues.
The Mdiathques entirely computerized catalogue
is partly accessible via internet. Students have
direct on line access to printed materials and
access on site or on line (with user identihcation)
to audiovisual material references and the
photothque image bank.
Specihc tasks :
Mdiathque staff, in collaboration with the
Scholastic Affairs and Deans Ofhces, are in charge
of assisting and following up on students for their
training period and internship CUs (stages).
They meet with and advise students, compile
stage listings and professional and employment
information, monitor the stage process and the
writing up of stage reports.
Contact: Patricia Kalensky (patricia.kalensky@
beauxartsparis.fr)
Mdiathque staff are also in charge of
photographing cole students works in the
studios and galleries, especially their hnal degree
examination hangings or installations. The
photographs are then added to the Ecoles image
bank or photothque, available for student use.
Direct access to most materials
Students have two spaces to work in: the Salle
Stratis Andreadis reading room and the Salle
Multimdia for periodicals, audiovisual materials
and the "Vie professionnelle information bank.
The Mdiathque 125
Salle Stratis Andreadis
Direct access to most books and exhibition cata-
logues, information on the cole (hles on teachers,
guest artists, degree examination committees),
current educational and cultural information
(latest acquisitions, cultural events program,
current exhibitions, latest cole publications), and
course-related material (bibliographies, inter-studio
projects).
Pre-2004 collective exhibition catalogues and
books on reserve may be consulted on request.
Salle Multimdia
Direct access to periodicals (daily press and the
approximately one hundred specialized reviews
and journals the cole subscribes to in the
helds of contemporary art, cinema, humanities
and social sciences, etc.), "Vie professionnelle
information (training and internship [stage]
listings; competition, prize, scholarship and grant
announcements; artist-in-residence openings;
assistance for hrst exhibition, sponsorship and
patronage opportunities, art training programs),
the video bank (U-matic, VHS, DVDs, etc.).
Audio CDs, CD-roms and audio cassettes may be
consulted on request.
Mdiathque work stations provide internet
access and priority access to the regularly updated
Mdiathque portal (www.mediatheque-beaux-
artsparis.fr/), presenting Mdiathque collections
and services, on-site hles on specihc current art
events, new material and the opportunity to sug-
gest specihc acquisitions, theme-centered bibliog-
raphies or course reading lists, external resources
in the held of contemporary art, professional and
employment resources, assistance in browsing
and using the catalogue. The portal is of course
the hrst interface for consulting the catalogue.
Training sessions in research practices are held at
the beginning of the academic year and upon student
request. Mdiathque advisory staff are always
available to assist students in their research.
Practical information
Hours: Monday 2-6:30 pm; Tuesday-Friday JJ am-
6:30 pm.
The Mdiathque is open to
-cole students and former students,
-cole teachers (and administrative staff).
-Students or researchers from outside the cole
conducting research on contemporary art may be
permitted to use the Mdiathque for a limited period.
Contact: medensba@beauxartsparis.fr / 0J 47 03 50 33
Related services: photocopying, printing, scanning
Wih by request (reception desk, Salle Stratis).
Lending: The vast majority of the collections can
only be consulted in the Mdiathque, but students
can check out DVDs for a period of 5 days.
1nternational Relations
126 International Relations
Study abroad programs
Every year, 45 to 50 fourth-year students have
the opportunity to study abroad on an cole Natio-
nale Suprieure des Beaux-Arts scholarship at one
of the coles sixty partner art schools. The study
abroad program is an integral part of students 4
th

year of study (see p. J07).
Students travel for 4 months either to another
European Union country on an Erasmus/Socrates
scholarship, or to a foreign country on a Colin-
Lefrancq scholarship.
This is an exchange program. For every Beaux-
Arts student who leaves, a foreign student is
received at the cole for the same dates; each
student has paid tuition fees at his or her home
institution.
The scholarships awarded by the cole Nationale
Suprieure des Beaux-Arts cover travelling and
a major portion of living expenses for the stay
abroad. However, students will be called upon to
pay the difference between total expenses and
scholarship amount.
Students are selected for a study abroad program
and the related scholarship as follows:
- In January, after announcements have been
posted at the cole and on the extranet, 3
rd
-year
students submit their applications, accompanied
by a letter of motivation, two letters of recom-
mendation from their teachers, a hnancial
information sheet, and a portfolio of students
work. Applications must be submitted no later
than the end of January. Applicants must have
earned all the requisite CUs and be otherwise
up to date on their scholastic obligations.
Foreign students admitted into the 3
rd
year of
studies are not eligible for the study abroad
program because they need to become integrated
into their new school environment.
- Students of French nationality directly admitted
to 3
rd
year may submit an exchange application
in February. These applications will be consi-
dered only if applying students have already
demonstrated full integration into the cole and
an artistic practice studio. A committee will
meet in February to determine the list of
scholarship winners and where they will be
sent. Students departure is contingent on their
admission into 4
th
year (obtention of the J
st
-
cycle degree and acceptance into the 4
th
-year
of study) and agreement by the foreign school.
- Before students leave, a learning agreement is
drawn up to plan their program of study at the
receiving school. On their return, students
hand in their learning agreement validated
by the receiving school, together with a detailed
report on their stay. For further information
contact the International Relations Ofhce.
Maurice Colin-Lefranc scholarship
The cole has an exchange agreement in connec-
tion with the Maurice Colin-Lefrancq scholarship
with the following foreign art schools:
- United States
Hunter College, New York
Cooper Union, New York
School of Visual Arts, New York
Otis College of Art and Design, Los Angeles
CalArts, Los Angeles
Art Center College of Design, Pasadena
The San Francisco Art Institute, San Francisco
Carnegie Mellon University, Pittsburgh
School of the Art Institute, Chicago
Columbia College, Chicago
The School of the Museum of Fine Arts, Boston
Institute of Arts & Design, Milwaukee
- Canada
University of British Columbia, Vancouver
Emily Carr Institute of Art and Design, Vancouver
Nova Scotia College of Art and Design, Halifax
Ontario College of Art, Toronto
Universit du Qubec, Montreal
- Australia
Australian National University, Canberra
Curtin University of Technology, Perth
Sydney College of the Arts, Sydney
- Other countries
Central Academy of Fine Arts, Beijing, China
Academy of Fine Arts, Xian, China
China Academy of Art, Hangzhou, China
National Taiwan University of Arts, Taipei
Musashino Art University, Tokyo, Japan
Tokyo National University of Fine Arts and Music
(Geidai), Tokyo, Japan
University of Arts, Kyoto, Japan
Hong-Ik University, Seoul, Korea
Korea National University of Arts, Seoul, Korea
Seoul National University, Seoul, Korea
Silpakorn University, Bangkok, Thailand
University of Baroda, Vadodara, India
School of Visual Arts, Rio de Janeiro, Brazil
Fundaao Armndo Alvares Penteado, So Paulo,
Brazil
Faculty of Arts of the University of Chili, Santiago,
Chili
University of Science and Technology, Kumasi,
Ghana
Bezalel Academy of Arts and Design, Jerusalem,
Israel
Acadmie Libanaise des Beaux-Arts, Beirut, Lebanon
Haute cole dArt et de Design, Geneva, Switzerland
School of Fine Arts, Sarajevo, Bosnia-Herzegovina
University of Arts, Belgrade, Serbia
International Relations 127
1nformation for foreign exchange students
The International Relations Ofhce also receives
exchange students from the sixty art school
partners of the Ecole Nationale Suprieure des
Beaux-Arts.
As stipulated in the partnership agreements,
foreign schools select their own exchange student
candidates. Applications for those students-inclu-
ding students statement of purpose, art portfolio,
and study course contract- must reach the cole
by
- May J5 for a J
st
-semester exchange;
- November J5 for a 2
nd
-semester exchange.
There is no age limit for exchange students.
Courses are taught in French, so it is advisable for
candidates to be fairly prohcient in that language.
In any case, the study of French as a Foreign
Language (FLE) is compulsory for foreign (non-
Francophone) exchange students during their stay
at the cole.
Foreign students study in the normal course
program and must take 4 Course Units (CUs) in
the semester they are at the cole, to be chosen
from among the following types for a total of 30
credits:
Studio CU - Artistic Practice Department 15 crdits
Language CU - Language Department 3 crdits
Franais Langue Etrangre (FLE) is compulsory for all non-Fran-
cophone students; French-speaking students must take a Theo-
retical Study CU, 3 credits, to be validated by the theoretical
course teacher on the basis of a term paper
Technical Skills CU - Technical Skills Department 6 crdits
Elective CU - Technical Skills Department, 6 crdits
Digital Technologies Section, Theoretical Study Department
The Theoretical study CU is compulsory for
French-speaking foreign students. They earn the
3 French language credits by writing a term paper,
assessed by the Theoretical study professor.
The Elective CU is for non-Francophone students.
- French overseas "dpartements"
cole des Beaux-Arts, La Runion
Institut Rgional dArts Visuels, Martinique.
Erasmus/Socrates scholarship
Students who are EU member-state nationals,
who have refugee or stateless status or who have
a permanent residence permit are eligible for
these scholarships, which are partly hnanced by
the European Community.
For the Erasmus/Socrates scholarship, the cole
has an exchange agreement with art schools in
the following European cities:
Athens, Barcelona, Belgrade, Berlin (Universitt
der Kunste and Kunsthochschule Berlin-Weis-
sensee), Bilbao, Brussels, Cracow, Dresden,
Geneva, Glasgow, Helsinki (Kuvataideakatemia
and Utah), Karlsruhe, London (Slade School of
Fine Art and Central St. Martins), Madrid, Milan,
Porto, Rotterdam, Soha, Stockholm, Valencia,
Venice, Vienna, Winchester.
Studio trips
The cole also regularly organizes study trips
abroad for studio groups. Recent destinations
include Ahmedabad (India), Bamako (Mali), Lima
(Peru), Lagos (Nigeria), and Tokyo (Japan).
The cole covers only travel expenses for these
trips. The aim is to develop original educational
projects with local partner schools and institutions.
Participation of cole studio professors is
required. Project proposals for studio trips must
be submitted by December J
st
, 20J0 and will be
selected according to available budget provisions
for the following year.
Interstudio trips will be organized within Europe for
major exhibitions or contemporary art events (the
Venice Biennale, the Kassel Documenta, etc.).
Administration and logistics for all study abroad
scholarships and studio trips are handled by the
International Relations Ofhce.
130 Student life
Extranet
Students may access internal information and services
from the cole website, www.beauxartsparis.fr.
Services available:
- electronic mail via beauxartsparis.fr addresses
(webmail),
- their scholastic record; possibility of requesting
documents,
- information on Digital Technology Section courses
and training modules,
- information on student computer accounts and
cards (access badge),
- access to Mdiathque and cole collection
document hles,
- access to the FAQ knowledge bank,
- accces to personal and shared hles.
Student nancial aid
French Ministry of Culture and Communication
nancial aid
French Ministry of Culture and Communication tax-free
hnancial aid grants are awarded for one academic
year on the basis of socio-economic criteria.
Eligible candidates must be:
- French citizens,
- registered cole students,
- under 26 at the time hrst grant is awarded.
Foreign students are eligible under one of the
following conditions:
- students parents are citizens of European
Economic Community member countries and
work or have worked in France under the terms of
the Treaty of Rome,
- student has obtained ofhcial refugee status
from the Ofhce Franais de Protection des
Refugis et Apatrides (OFPRA),
- either of students parents as well as parents
dependent children have resided legally in
France for at least two years.
Financial aid and housing applications:
In 2009 the CROUS was put in charge of hnan-
cial aid applications. Students wishing to apply for
Financial aid for higher education based on socio-
economic need or for university housing for the
academic year 20J0-20JJ must register on-line
from January J5 - April 30, 20JJ at the CROUS
Paris site: www.crous-paris.fr.
Disbursement schedule:
Financial aid is disbursed on a quarterly basis by
transfer to recipients bank account or post ofhce
account.
Recipients are exempted from cole tuition fees
and student health insurance contributions.
CROUS municipal nancial aid grants
The CROUS also annually awards municipal Finan-
cial aid for higher education grants to cole Natio-
nale Suprieure des Beaux-Arts students who
have obtained a need-based, 0% higher educa-
tion grant.
"Dpartement" nancial aid
The Conseils Gnraux (General councils) of some
French dpartements award hnancial aid grants.
Information at the Service des bourses et prts
dhonneur of students local Conseil Gnral.
City of Paris nancial aid
Each year, six grants are awarded by the City
of Paris, to encourage students at the cole des
Beaux-Arts in their work. Candidates must be
registered for degree or post-degree level. They
must justify their needs for hnancial sustain.
Contact: Direction des affaires culturelles /
Dpartement de lart dans la ville,
Address: 3J rue des Francs-Bourgeois 75J88 Paris
cedex 04
Ofhce: J5 rue de lcole-de-Mdecine
Couvent des Cordeliers, J
st
foor
75006 Paris.
brigitte.pilat@paris.fr / Tel: 0J 56 8J 33 09
University nancial aid
Students contact the Service des bourses at the
university they are enrolled in for information on
how to apply for this hnancial aid.
Individual students may only be awarded one
state hnancial aid grant.
Annual emergency nancial aid from the
Ministre de la Culture et de la Communication
On condition of application approval by a CROUS
social worker, annual emergency hnancial aid may
also be available to students with no family or
other visible source of support and who therefore
cannot apply for higher education hnancial aid on
the basis of socio-economic need criteria.
Student health insurance
(Scurit sociale tudiante)
Health insurance is compulsory for all students.
Coverage and contributions vary by students
personal situation.
Non-employed students
1. If you will be J8 or J9 during the school year and
- your parents are employed, Scurit sociale
tudiante (student health insurance) is compulsory
and free of charge;
- your parents are self-employed or in the liberal
professions and you are not covered by their
Student life
Student life 131
Scurit sociale program, you must have and
pay a contribution for Scurit sociale tudiante.
2. If you will be over 20 and under 28 during the
academic year, you must have and pay a contribution
for Scurit sociale tudiante. The age limit may
be extended in special cases (health reasons, etc.).
3. If you will reach the age limit of 28 during
the school year, your Scurit sociale tudiante
coverage is extended for J2 months provided
you hle an application with your local Caisse de
Scurit Sociale. The J2-month period begins on
your birthday.
Employed students
If you can furnish proof of being employed 60 hours
per month or J20 hours per quarter during the
school year, you can be exempted from Scurit
sociale tudiante contributions. For exemption,
present your last three payslips and a job contract
covering the period from J October 20J0 to 30
September 20JJ upon registration at the cole.
Married students
1. If your spouse is also a student, Scurit sociale
tudiante is compulsory for both of you.
2. If your spouse is employed, you are required to
produce spouses carte de scurit sociale when
you register at the cole as proof that you are
covered by his or her insurance.
3. If your spouse is neither a student nor employed,
Scurit sociale tudiante is compulsory for you,
and your spouse will be included in your coverage.
Registering for the Scurit sociale tudiante
You must register for the Scurit sociale tudiante
(or prove exempt status) at the time you register
at the cole. You must pay your contribution at
the beginning of the school year, at the same time
as you pay your tuition fees.
N.B. The Scurit sociale tudiante registration
card you are issued upon registration at the cole
has the same ofhcial status and function as the
standard carte de scurit sociale.
Reimbursement
Health insurance benehts are disbursed through the
Scurit sociale tudiante center you choose when
registering: either Center 60J (La Mutuelle des
tudiants, LMDE) or Center 6J7 (Socit mutualiste
des tudiants de la rgion parisienne, SMEREP).
Complementary health
insurance (Mutuelles)
To complement their standard Scurit sociale
tudiante, students choose between the two com-
plementary student health insurance programs
listed above; i.e, the LMDE (La Mutuelle des tudiants)
or the SMEREP (Socit mutualiste des tudiants
de la rgion parisienne).
Students are required to take out insurance with
one of these programs to obtain compulsory
Assurance responsabilit civile (civil liability insur-
ance) coverage for the full school year (J October
to September 30 of the following year).
Information on coverage offered by these pro-
grams is provided with your registration hle.
Social worker CROUS -
Centre Rgional des uvres
Universitaires et Scolaires)
Louise Ftu - Btiment des Loges - J
st
foor
Tel: 0J 47 03 50 50 (by appointment).
Health service
This service is available to students for emergencies.
All J
st
-year students are required to have a medical
check-up at the Service Inter-universitaire de
Mdecine Prventive (Interuniversity service for
preventive medicine), 45 rue des Saints-Pres,
75270 Paris cedex 06.
The service also provides consultations for students
by appointment.
Housing
Housing with a studio
- Cit internationale universitaire de Paris (Ciup)
J9 boulevard Jourdan, 750J4 Paris
Tel: 0J 43 J3 65 00
These apartments are reserved for young artists
from abroad for periods of 3 months to J year.
- Cit Internationale des Arts
J8 rue de lHtel de Ville, 75004 Paris
Tel: 0J 42 78 7J 72
This facility accommodates artists staying in
Paris for a period of 2 months to J year (tenancy
renewable only once).

132 Student life
Residence halls
The three CROUS organizations of the le-de-
France region provide housing for students enrolled
at institutions located in the following acadmies
(educational districts):
- Paris: 39 avenue Georges Bernanos, 75005 Paris
Tel: 0J 40 5J 55 55
- Crteil: 70 avenue du Gnral de Gaulle,
940J0 Crteil
Tel: 0J 45 J7 06 79
- Versailles: J45 bis boulevard de la Reine,
78000 Versailles
Tel: 0J 39 24 52 00
A list of university residence halls is available at
each CROUS center.
Application forms are available from January J5
at CROUS centers, or can be received by mail on
request.
Applications should be submitted by March J but
will be accepted throughout the year, as space
sometimes become available through cancellations.
Housing recipients are selected by the Director of
the CROUS after consultation with a joint commit-
tee. Recipients are selected on the basis of socio-
economic and scholastic criteria.
The Cit Internationale-J9 boulevard Jourdan,
750J4 Paris, tel: 0J 43 J3 65 00-provides housing
for over 5000 students of all nationalities. Applica-
tion forms are available at the Cit from April J.
Only students under 30 who have successfully
completed two years of study are eligible.
Private accomodation and hostels
A list of private housing offers, boarding houses
and student hostels (maisons dtudiants) is
available at the CROUS Service du Logement
(Housing Service) and may be consulted in the
Mdiathque.
Student cafeterias
These cafeterias are run by the CROUS. To purchase
meal tickets you must show your student ID
card. Hours are posted at the entrance to each
cafeteria. A list of student cafeterias is available at
the Accueil Scolarit (Registrars Ofhce).
Sports
The cole offers practice at all levels, from
basic training to competitive events, in aikido,
contemporary dance, tennis, rugby, and other
sports activities.
Information and registration at the Accueil scolarit
(Registrars Ofhce).
Graduate information
and network ofce
The coles new information and network ofhce
will facilitate contact between cole graduates and
art world professionals while keeping abreast of
graduates participation in exhibitions.
Contact: Evren Adanir, Scholastic Affairs Ofhce
Student assocation
(Bureau des lves)
The student association De Quoi gives students the
opportunity to meet and exchange information,
ideas, projects of all sorts (exhibition organizing,
ordering consumables at special prices, arranging
parties, etc.). All student ideas and suggestions
are welcome.
bde@beauxartsparis.fr
Competitions
and sponsored prizes
Competitions
Various institutions and companies organize com-
petitions, either with a set theme or in connection
with particular commissions. Competition informa-
tion rules may be found in the Mdiathque and the
cole weekly newsletter.
Sponsored prizes
These are prizes endowed through donations and
bequests to the cole Nationale Suprieure des
Beaux-Arts. Each year a jury awards prizes in all
disciplines. Only students who have obtained their
DNSAP with honors ("flicitations du jury) during
the given year are eligible, with the exception of
the Prix Keskar.
In 2008, the association Les Amis des Beaux-arts
de Paris began awarding the Bernar Venet prize,
the 3
rd
-Year "Prix Espoir, Fondation Clermont-
Tonnerre, 4
th
- and 5
th
-year prizes, and the "Surprise
Agns b. prize.
Student project grants
A committee meets two times a year to examine
requests for exceptional funding of student projects,
namely DNSAP preparation projects. Applications
for this hnancial aid must include a description
of the project, its estimated cost and studio
professors opinion.
For further information or to submit an application,
see the Service de la vie scolaire (Scholastic Affairs
Ofhce).
Student life 133
Exhibitions
Contemporary art and works from the cole
Collections are regularly displayed in the exhibition
rooms at J3 Quai Malaquais. Students participate
by way of the annual show of honor graduates
work, the contemporary component of Collection
exhibitions, and thematic shows.
Logistic support and advice for exhibitions in
connection with studio course projects or in col-
laboration with outside institutions are available
from the Communication and Exhibitions Ofhce
and the Publications Ofhce.
The left and right-hand galleries of the Palais des
tudes are available to students for occasional
hangings of their work.
For information and to reserve space, see the
Service de la vie scolaire (Scholastic Affairs Ofhce).
Open Studios Days
Two Open Studios Days are held every year,
offering public access to cole studios, lecture
halls, historic buildings and other areas of cole
activity.
cole news
and information
Every Monday a newsletter is sent out to all
beauxartsparis.fr e-mail addresses with brief notices
on all weekly scholastic (registration and course
schedules), professional (internship, training period
and job announcements; competitions; particular
commissions; artist-in-residence openings, etc.)
and cultural news and information.
To submit a notice for the next newsletter, e-mail your
insert to lettre@beauxartsparis.fr by 2 pm Friday.
At any time students may connect to the coles
internet site www.beauxartsparis.fr to access the
extranet for information of all sorts, updated in real
time (scheduling of Digital Technologies Section
modules, students CU results, etc.).
Safety rules
Fire safetyDangers
The potential hre hazards at an institution like the
cole are manifold:
- Flammable products: solvents, paints, canvas,
wood, wastebasket content, textiles, plastics, etc.;
- Electrical circuits (risk of short-circuit);
- Historic buildings: wooden beams, foors, roof
structures, staircases.
Obligations and prohibitions
The following safety instructions are to be applied
to the letter.
- It is strictly prohibited to smoke inside any
cole building.
- It is strictly prohibited to let exposed fames
burn (matches, lighters, candles, heaters, gas,
oil or alcohol-burning lamps, acetylene soldering
torches, etc.).
- All emergency exits, circulation corridors, landings
and stairways must remain free of obstruction.
Any material stocked without permission in
these places will be removed by security
personnel without prior notice.
- You must not block hre doors with furniture,
slipways, extinguishers or any other object.
- You must not tamper with hre detectors, extin-
guishers or any hre prevention device or system.
- You must not remove, obstruct or otherwise
tamper with posted safety instructions and
indications, evacuation plans or manual siren
detectors.
- You must not open, modify, obstruct access to
or paint fuseboxes, etc.
It is crucial to acquire the following refexes:
- Learn the location of emergency exits and
extinguisher devices, particularly in the areas
you spend the most time in.
- Avoid cluttering the premises, and notify security
personnel of any pile-up of material that might
be unsafe.
- Take part in the quarterly evacuation exercises.
- Always close containers of fammable products
(bottles, cans, tins); limit the quantity of materials
you stock and always keep them away from
heat sources and electrical equipment.
- Be attentive to suspect odors; they are often
the hrst sign of danger.
1n case of re:
- Learn how to use the manual detectors to give
the alert,
- Dial 18 to reach reghters,
- 1nform cole security personnel using
inside lines 5000, 502J or 5022. Only use
an extinguisher yourself if the re has just
caught and is tightly circumscribed.
Alert cole security personnel if you are bothered by
a stranger to cole premises.
In all cases, after alerting aid or rescue services,
inform an cole authority (director or ofhce head).
136 cole administration and services
Direction (Director's ofce)
Htel de Chimay - ground oor
Tel: 0J 47 03 50 0J - Fax: 0J 47 03 50 80
deborah.arnaudet@beauxartsparis.fr
Director: Henry-Claude Cousseau
Deputy Director and Dean of Studies:
Gata Leboissetier
Deputy Director and Head Administrator:
Thierry Jopeck
Secretaries:
Dborah Arnaudet, Julien Fiant, Yveline Moreau
Direction des tudes
(Dean's ofce)
Dean of Studies: Gata Leboissetier
Tel: 0J 47 03 50 08
Secretary: Yveline Moreau
yveline.moreau@beauxartsparis.fr
Service de la vie scolaire
(Scholastic Affairs Ofce)
and 2
nd
oor - Hall de la Direction
Tel: 0J 47 03 50 58 / 50 68 - Fax: 0J 47 03 54 54
This ofhce is in charge of all scholastic affairs from
student admission procedures to the hnal degree.
It organizes courses, Course Units and examinations
and ensures smooth operation of cole departments,
sections and technical workshops.
The Scholastic Affairs Ofhce also mediates between
the Directors Ofhce and cole users. It is a privileged
interlocutor for faculty, students, committees, ap-
plicants for admission and candidates for teaching
posts.
Head of Scholastic Affairs: Carole Cronne
carole.croenne@beauxartsparis.fr
Assistant in charge of student registration and
scholastic records: Herv Le Bail
herve.lebail@beauxartsparis.fr
Tel: 0J 47 03 50 66
Assistant in charge of course organization: Alice Rivey
alice.rivey@beauxartsparis.fr
Tel: 0J 47 03 54 76
Secretary: Odile Dorriotz
Accueil scolarit (Registrars Ofhce):
Registrars: Alex Cavigny
alex.cavigny@beauxartsparis.fr
Jacques Juwan
jacques.juwan@beauxartsparis.fr
Monday to Friday 9:30-J2:30 am, 2-5:30 pm
Tel: 0J 47 03 50 59 / 50 65 - Fax: 0J 47 03 54 54
Reception and information.
Student registration and re-registration.
CU and degree examination registration.
5
th
-year seminar registration.
Financial management, student scholarships:
Michle Dussol
michele.dussol@beauxartsparis.fr
Tel: 0J 47 03 50 60
Arrangements for monitors and outside participants:
Odile Dorriotz
odile.dorriotz@beauxartsparis.fr
Tel: 0J 47 03 50 58
Financial aid and project grants for students, in
charge of models: Pascale Lam-Yam
pascale.lam-yam@beauxartsparis.fr
Tel: 0J 47 03 50 68
Right and left galleries: Odile Dorriotz
Graduate information and network ofhce
Evren Adanir
Tel: 0J 47 03 54 JJ
Classes for adults: Sylvie Lescout
courspouradultes@beauxartsparis.fr
Tel: 0J 47 03 50 63
Technical workshops
The technical workshops are open from September
to late June.
Woodworking
Hall de la Melpomne
Head: Grard Delangle
gerard.delangle@beauxartsparis.fr
Tel: 0J 47 03 52 62
Ceramics
Cap Saint-Ouen
5 rue Paul-Bert
93 400 Saint-Ouen
Head: Claude Dumas
Forging
Cap Saint-Ouen
5 rue Paul-Bert
93 400 Saint-Ouen
Head: Carole Leroy
Composite materials
Cap Saint-Ouen
5 rue Paul-Bert
93400 Saint-Ouen
Head: Serge Agoston
Metalworking
Cour des loges - ground oor
Head: Michel Salerno
Tel: 0J 47 03 52 75
cole administrations
and services
cole administration and services 137
Digital Technologies Section
Btiment Perret - 3
rd
-oor landing
Head: Vincent Rioux
vincent.rioux@beauxartsparis.fr
Tel: 0J 47 03 54 05
Secretary: Martine Lapelerie
martine.lapelerie@beauxartsparis.fr
Tel: 0J 47 03 54 02
Computer maintenance
Btiment Perret - 4
th
-oor landing
Head: Bernard Mailly
bernard.mailly@beauxartsparis.fr
Tel: 0J 47 03 50 62
Ofce tasks computer room
Hall de la Melpomne
Head: Christophe Thouvenot
christophe.thouvenot@beauxartsparis.fr
Tel: 0J 47 03 54 69
Hours: Monday-Friday from September J to late July,
hours posted.
The computers in this room are for ofhce tasks: word
processing, layout, consulting internet, scanning
documents, standard printouts, downloading digital
photos and saving hles on CDs or DVDs, color
printouts (see specihc supplement).
Equipment loans
Hall de la Melpomne
Equipment storeroom manager: David Chantreux
david.chantreux@beauxartsparis.fr
Technician: Farid Boulechlouche
farid.boulechlouche@beauxartsparis.fr
Tel: 0J 47 03 54 50
cole students may borrow machines and equipment
from the equipment storeroom (see registration
requirements for "prt at the Accueil Scolarit
(Registrars Ofhce).
Standard reservations are by e-mail only at pret@
beauxartsparis.fr. For projects requiring more im-
portant means (exhibitions, degree examination,
performance art, etc.) students should make an
appointment with David Chantreux as early as
possible (even if needs change in the interim).
2D computer imagery
Btiment Perret - 4
th
-oor landing
Project assistance and supervision and digital printing:
afternoons.
Head: Valrie Poifol
valerie.poifol@beauxartsparis.fr
Tel: 0J 47 03 52 09
Infrastructure:
- Salles J, 2 and 3, PC and Mac work stations for
image processing, desktop publishing, vector
graphics, 2D animation and compositing,
- Black-and-white and color laser and inkjet
printers, large-format tracer and photo engraving,
- Opaque document and hlm scanners,
- Graphics tablets.
3D computer imagery
Btiment Perret - 4
th
-oor landing
Project assistance and supervision:
Tuesday afternoons and by appointment
Laurent Mercier
laurent.mercier@beauxartsparis.fr
Tel: 0J 47 03 54 05
Infrastructure: Salle 2, 3D work stations (PC).
1nteractivity
Btiment Perret - 4
th
-oor landing
Project assistance and supervision:
Mondays, 2
nd
semester 20J0-20JJ
Raphal Isdant and Christophe Lemaitre
raphael.isdant@beauxartsparis.fr
christophe.lemaitre@beauxartsparis.fr
Infrastructure: Salle 3, Mac et PC interactivity work
stations, captation equipment, real-time game
engines, 3D visualization glasses.
Photography
Btiment Perret - basement
Head: Sabine Dizel
sabine.dizel@beauxartsparis.fr
Tel: 0J 47 03 52 32
Photo shooting.
Project supervision and assistance:
Tuesdays, Thursdays and Fridays by appointment
Aurore Deligny (studio spcialist)
aurore.deligny@beauxartsparis.fr
Vincent Lambert (reporting spcialist)
vincent.lambert@beauxartsparis.fr
Jean-Michel Lapelerie (reproduction spcialist)
jean-michel.lapelerie@beauxartsparis.fr
Tel: 0J 47 03 52 38
Photo lab
Htel de Chimay - basement
Head: Christian Ruault
christian.ruault@beauxartsparis.fr
Tel: 0J 47 03 52 32
Technician: Frdric Latouche
Tel: 0J 47 03 54 44 (backmounting by appointment)
frederic.latouche@beauxartsparis.fr
Infrastructure:
- Black and white, color and large-format wall-
mounting enlargers,
- RA-4 color and RC black-and-white paper
developers,
- Imager,
- Printers (see 2D computer imagery),
- Backmounting machine.
Project assistance and supervision: every day
except Wednesday mornings.
138 cole administration and services
Video
Btiment Perret - 3
rd
and 4
th
oor landings
Project assistance and supervision in the afternoons:
Heads: Monique Bonaldi
monique.bonaldi@beauxartsparis.fr
Tel: 0J 47 03 52 07
Julie Courel
julie.courel@beauxartsparis.fr
Tel: 0J 47 03 52 07
Infrastructure:
- video shooting studio for compositing,
- individual editing stations,
- copying station,
- Salle 3 video-sound stations (Mac).
Sound
Btiment Perret - 3
rd
and 4
th
oor landings and
basement
Project assistance and supervision: Fridays
Jean-Franois Thomelin
jean-franois.thomelin@beauxartsparis.fr
Jean-Nol Yven
jean-noel.yven@beauxartsparis.fr
Infrastructure:
- sound studio,
- individual editing stations (5.J),
- digitizing station,
- Salle 3 video-sound stations (Mac).

Programme La Seine
Hall de la direction - ground oor
Tel: 0J 47 03 54 0J
laseine@beauxartsparis.fr
Head: Tony Brown
Professors: Patrick Raynaud, Paul Sztulman
Coordinator: Vincent Gonzalvez.
Cultural Events Ofce
Tel: 0J 47 03 54 58
Head: Jany Lauga
jany.lauga@beauxartsparis.fr
Video program: Martine Markovits.
Mdiathque
Palais des tudes - right-hand staircase,
2
nd
oor
Tel: 0J 47 03 50 33 - Fax: 0J 47 03 50 78
Hours: Monday 2-6 pm, Tuesday-Friday J0 am-6 pm
Head: Sylvie Montagnon
sylvie.montagnon@beauxartsparis.fr
In charge of professional internship and training
period CUs: Patricia Kalensky
patricia.kalensky@beauxartsparis.fr
1nternational Relations
Ofce
Tel: 0J 47 03 50 75/50 92 - Fax: 0J 47 03 54 J2
Head: Laurence Nicod
laurence.nicod@beauxartsparis.fr
Monique Le Souf.
Scientic and cultural
development department
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cole administration and services 139
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142 Faculty Prohles
Jean-Michel Alberola
Artistic Practice Department /
Painting and Parasites
Born in J953 in Saida, Algeria, Jean-Michel
Alberola has been teaching at the cole since
J99J. After his university studies, he exhibited for
the hrst time in J982 at the Ateliers de lARC,
Muse dArt Moderne de la Ville de Paris, and had
a solo show at the Galerie Daniel Templon, Paris.
A key period in his work commenced in the early
J980s, taking as its point of departure biblical and
mythological iconography (Susanna and the
Elders; Diana and Actaeon) and marked by the
infuence of Tintoretto, Veronese, Velzquez and
Manet. Alberolas hgures are emblematic of his
thinking on the powers of images and of the seeing
eye. At once painter, sculptor, hlmmaker, maker
of books and objets dart, Alberola endeavours to
fuse painting, writing and speech: "The people
writes on the wall and artists bore the people [.].
Yet artists would like to be guides again and show
how to cut through the helds and remain continually
alert, subversive. Jean-Michel Alberolas works
are shown in various galleries and museums in
France and abroad.
Patrice Alexandre
Technical Skills Department / Modeling
Born in J95J, Patrice Alexandre divides his time
between the district of Champagne and Paris.
From J968 to J973 he was a student at the cole
Nationale Suprieure des Beaux-Arts. He then
taught at the cole Rgionale des Beaux-Arts in Le
Mans, returning to Paris in J992 to teach at the
cole Nationale Suprieure dArchitecture, Paris-
Belleville. He has been co-directing the coles
modeling studio since 2008.
From J98J to J983 he was resident artist at the
French Academy in Rome. In J98J he was awarded
the Budapest International Biennial prize.
In 200J, in response to a commission from the
Conseil Gnral de la Marne on the memory of "la
Grande Guerre, he developed an interpretation of
World War I monuments in this dpartement. To
further pursue this research, he enrolled in 2004
at the cole des Hautes tudes en Sciences
Sociales, where he spent three years studying and
writing a masters thesis on the role of the sculptor
with regard to collective memory and how
sculpture can represent memory.
Alexandre designed and executed the monument
to Saint-John Perse in the gardens of the Museum
of Natural History in Paris, and a monument to the
victims of the Gestapo in Reims. In J993 he won
an international contest to design a monumental
artwork for the Aube reservoir dam.
He is currently studying the work of the eighteenth-
century engraver-architect Piranesi, moving from
commentary on his engravings to interpretation of
them through sculpture (joint exhibitions with the
photographer Ferrante Ferranti in 2008 at the Base
Sous-marine cultural center in Bordeaux and in
2009 at the Muse de Gajac, Villeneuve-sur-Lot).
In late 2008 he staged the World War I
correspondance of Fernand Lger (the artist was
played by Jacques Gamblin, original music by
David Chaillou).
Monographs on Alexandre were published in J983
(ditions Autrement) and J986 (ditions La
Diffrence and Initiale). In J995 the Muse
dEpernay published a monograph on Alexandres
visual commentaries on its collection of Celtic
works. In 200J the Conseil Gnral de la Marne
published Sculptures de mmoire. In 2006 another
monograph on his work was published by the
ditions du Bois.
Faculty Prohles 143
Born in J963, Pierre Alferi studied philosophy
at the cole Normale Suprieure of Paris. His
thesis on William of Ockham, supervised by Louis
Marin, was published in J989 by the ditions de
Minuit. In the J990s, P.O.L. published several
books of his poetry (Les Allures naturelles, Le
Chemin familier du poisson combatif, Kub Or,
Sentimentale journe, La Voie des airs) and two
novels (Fmn and Le Cinma des familles). In J995
he co-founded with Olivier Cadiot the Revue de
Littrature Gnrale, which assembled around a
hundred contributions in the aim of reviving the
theoretical debate around literature. He has long
been dialoguing with the sculptor Jacques Julien
(Personal Pong, Handicap, LInconnu, Farandole),
and he writes lyrics for Rodolphe Burger (Cheval
Mouvement, Meteor Show) and Jeanne Balibar
(Paramour, Slalom Dame). He translated the
books of Job, Isaiah, Proverbs and the Siracid
for Bayards Bible Nouvelle Traduction and has
written on cinema for Vacarme and the Cahiers du
Cinma (Des enfants et des monstres, 2005).
In J999, with the aim of producing poetry by
other means, he began making hlms in which the
written word intervenes in time and the image
(a dozen hlms on the DVD Cinpomes et hlms
parlants, 2003); these gave rise to a number of
exhibitions (the BFJ5, the Espace Gantner) and
screenings (MAMCO, Galerie Nationale du Jeu
de Paume, Centre Pompidou). He has created
hybrid performances (Fondation Cartier, Cit de
la Musique), done drawings to illustrate his books
(Intime, 2004) and built sound landscapes (En
Micronsie, ACR, 2005).
Alferi has been teaching esthetics at the cole
Nationale Suprieure des Arts Dcoratifs since
2008. In that same year he published Les Jumelles,
a novel encompassing a repetition of an episode in
the life of Auguste Blanqui. This year, 20J0, P.O.L.
published his new novel, Aprs vous.
Pierre Alferi
5
th
-year seminar
"The many material and symbolic references to
stone and wood-nature, statuary, monument,
notion of perpetuity, and others-are an integral
part of the history of sculpture and lead us to
inquire into the issues they raise in art today. Both
stone and wood take several varied appearances:
a natural form, a figure, plating, ornamentation,
structure, and others. Through the act of cutting,
these various attributes make it possible to create
and fit together basic or complex volumes which in
turn move us to reflect on space. We can explore
the ties between stonecutting-woodcutting and
todays artistic and architectural expressions as
well as with public space.
Born in J962 in Germany, Gtz Arndt graduated
from the cole Nationale Suprieure des Beaux-
Arts in J992.
His artistic concerns are primarily with
contextualized sculptural interventions, namely
those situated in public space and that probe
the history, use and attributes of their sites. The
means used are economical, the aim being to
integrate his sculpture ensembles in such a way
as to bring out slight discrepancies between them
and the existing architecture, discrepancies that
hone our perception of space.
In J993 he was awarded a FRAC-le de France
grant. His work was shown in Germany (FOE J56,
Munich), Spain (Cruce Madrid), France (CRAC
Montbliard), Luxembourg (Parc Heinz).
In 200J he organized an exhibition of the work of an
artists collective, SET, at Glassbox, Paris, showing
with the same collective at the Kunstbunker in
Nuremberg, Bremerhaven and at the Garage
in Bonn. He has done public commissions in
Germany (Horb/N.) and Luxembourg (Echternach
and Syren). In 2007 he showed at the Stiftung fr
Konkrete Knst of Reutlingen and realized Solong
on a bridge at the border between Germany and
Luxembourg, part of the "Luxembourg, European
Capital 2007 project.
In September 2008 he took part in the
Ultramoderne exhibition at La Passerelle art center
in Brest, showing current artistic approaches to
the twentieth-century modernist movement. In
October 2008, he created an installation at the
Muse dArt Moderne de Luxembourg (MUDAM).
In 20J0, as part of Werk-J0 in Heidenheim, he
created an installation in that city, accompanied
by an exhibition at the Heidenheim Kunstmuseum.
In July of this year, he created a sculpture to be
installed in the garden of the Vargas Museum in
Manilla, Philippines and exhibited at the MO_space
in Manilla.
Gtz Arndt
Technical Skills Department /
Stonecutting-woodcutting
144 Faculty Prohles
Vincent Barr
Artistic Practice Department
"The studio enables the student to work with
materials and space in accordance with his or her
personal approach and projects, which are then
shared with others through studio exhibitions and
`critiques. Students are strongly encouraged to
immerse themselves in the cole by taking every
opportunity to use the sculpture `tools available in
the technical workshops and to explore those used
in the sound, image and drawing workshops. I also
urge students to work in the Saint-Ouen studios.
Sculpture is here understood in the widest sense
of the term, from the object itself to how it is ins-
talled and it working on the body and social space.
Students need to take the idea of context (urban,
landscape, social, cultural) fully into account as a
means of opening up to the world. Active invol-
vement in theoretical courses and cole cultural
events, frequent use of the Mdiathque and cole
collections, travels and regular museum visits are
considered integral parts of artistic practice.
Born in Vierzon in J948, Vincent Barr lives
and works in Paris and the Loiret. He studied
architecture in France and the US and travelled
in Europe, America and Asia, where he discovered
great works of art in their native environments
and came to recognize the vital contributions of
non-Western cultures. He subsequently worked
as an architect and took part in ethnological
and town planning studies in the Himalayas. In
J982 he turned his energies to sculpture. Vincent
Barrs work is regularly exhibited at the Galerie
B. Jordan, Paris. Recent exhibitions: 2000-200J,
Corpus, with the museums and art centers of
Beaune, Amiens, Poitiers and Orlans; 2003-
2005, Dtour in Tanley, Bayonne and Tourcoing;
2006, Chers confrres, with his students in Yvetot,
Mtis in Toulon, the Centre Culturel Franais in
Munich in 2008 and the Central Culturel Franais
in Belgrade in 2009.
Barrs films reflect the sculptors way of seeing
and his travels: Dtour, 2004; LArc diris, 2005,
Aline Czanne, 20J0, with Pierre Croton; Mtis,
2007 with Richard Deacon. They have been
screened at the Fid in Marseille and at various
film festivals. He has taken part in public works
in collaboration with architects (S. Dubuisson,
P. Berger, F. Laisney, B. Gaudin) and artists; also
in the city planning project for the city of Amilly,
Loiret.
Vincent Barr has been studio professor in the
Ecoles sculpture-volume department since J995;
he leads seminars abroad in such countries as
China, India and the US.
After vain attempts to develop a professional life
out of his scientihc studies, and a short stint
as a hlm critic, hnally found a way of connecting
desire and social integration by becoming an
academic, in which profession he has worked for
nearly forty years, exercising in various places
under various titles.
Took advantage of the freedom that academics
enjoyed at the time to follow research avenues
that amused him without worrying whether they
complied with bibliometric standards. Became
interested in questions such as continuity and
discontinuity in cinema, hlms within hlms, the
question of the modern (Moderne? Comment
le cinma est devenu le plus singulier des arts,
2007), the theoretical thinking of hlmmakers (Les
thories des cinastes, 2002), and more specihc
matters (Cinma et mise en scne, 2006). Has
consistently attended to issues related to the
image (hlmic and other varieties): Montage
Eisenstein, J975, 2005; LCil interminable, J989,
J995, 2007; Limage J990; De lesthtique au
prsent, J998; Matire dimages, 2005, 2009.
Distrusts big dogma and theory (for having
practiced some himself). Works instead on image
analysis, taking off from the principle that images
are one of the great thought vectors available to
us and should be taken seriously from start to
hnish as images. Believes, then, in the power of
images as such-in their eternal firt with mimesis
and representation, for example-and seeks to
understand how far this power can go.
Jacques Aumont
5
th
-year seminar
Faculty Prohles 145
Dominique Belloir
Dominique Belloirs video/hlm/multimedia studio
focuses on interrelations between different media
and materials: video, super-eight and J6 mm hlm,
drawing, photography and computer graphics, as
well as free experimentation using these tech-
nologies to enable images and hlm sequences to
emerge by degrees as a function of their personal,
artistic, musical and cinematographic references.
This exploratory work is supplemented by analysis
of the interaction between audio and visual
material, with a view to discovering examples with
students of novel genres combining video, hction
and documentary.
Born in J948 in Brittany, Dominique Belloir lives
and works in Paris. She has been teaching at the
cole since J995. After studying sculpture in Paris
and Brussels, she began using video in J972 and
took her Masters in hlm studies and her PhD in
aesthetics in J978. While producing her hrst art
videos, she contributed a number of reviews and
articles to specialist journals and special editions
(Art Press, Autrement, Sciences et Avenir and
others). She also helped organize a number of art
video events in France and abroad. In J98J Belloir
put out a special edition of the Cahiers du Cinma
entitled "Vido Arts Explorations, a history of the
genesis of art videos in Europe and the US. She is
president of the Grand Canal Association, a point
of contact and liaison for video and multimedia
artists, and produces documentaries on contem-
porary art. Her own works are distributed by
Grand Canal, Heure Exquise and Le Vidographe
de Montral.
Philippe Bennequin
Fresco painting
"Walls have their own laws, rules, potential,
vitality. A `wall (to use a manner of speaking)
is in fact a fragment of a volumetric whole. It
is essential to know the value of the volumes,
their meaning, strength, capacity for pressure
and oppression, and this can only be acquired by
becoming thoroughly familiar with built volumes.
To learn to swim, one has to get in the water. In
my humble opinion, walls should be painted at all
times, regardless of where they are, and with the
idea that they may get covered over again later
during construction work, so that perceptive eyes
and prepared minds may take on the difhcult test
of architecture. (Le Corbusier).
"As a material or component of the architecture,
it [the fresco or mural] colors the air breathed in
that structure and, taking control of the space, it
may well raise itself to the destiny of its building
support. It need not be contemplated but rather
makes itself steadily felt (Antoine Fasani,
lments de peinture murale).
Born in J954, Philippe Bennequin began his art
studies-modeling and fresco painting-in J97J
and graduated from the cole Nationale Suprieure
des Beaux-Arts in J982. He taught fresco painting
from J98J to J985 at Fontainebleau, then at the
cole and in the Marne, while taking part in various
shows and exhibitions in France and Switzerland.
During the same period he participated in a
number of fresco restoration projects for Frances
Department of Historic Monuments, among others.
Since J989 he has devoted himself exclusively to
his own work, primarily realizing in situ projects.
Fascinated by the interaction, exchange and
particular constraints of integrating art into
architecture, he has executed private and public-
sector commissions for frescoes and murals in
Tokyo, Paris, for the Chteau du Mardereau and
quite recently for the CHU hospital of Poitiers and
number of city of Paris social services.
146 Faculty Prohles
Pierre Bergounioux
Theoretical Study Department /
History of literary creation
Studying literature has led me to examine the
history of texts, while life itself has forced me to
return, in thought, to the peripheral, backward
world I was born into. I have presented an
understanding of the hrst in essays; my sense
of the second in narratives, and the two subjects
occasionally interfere with each other.
Recent publications: Une chambre en Hollande
(ditions Verdier, 2009); Deux querelles (ditions
Ccile Dfaut, 2009); Le texte absent and Le
baiser de sorcire (ditions Argol, 20J0).
The hrst two works focus on the tense relations
between literature and neighboring philosophy;
the other two on the equally problematic relations
between literature and politics.
James Bld
Drawing Section and Technical Skills
Department /Drawing from live models -
Analyzing artworks
Born in J950, James Bld is a hgurative painter
who works from nature (portraits, still lifes,
landscapes) and his imagination. After winning
the Acadmie de France Rome competition, he
lived at the Villa Medicis from J980 to J98J. In
J982 he began teaching at the cole Nationale
Suprieure des Beaux-Arts. In J984 he executed
a number of murals for a production of Molires
Dom Juan at the Thtre des Bouffes du Nord.
His interest in mythology and psychoanalysis led
him to devote a series of works, over the course
of more than a decade, to the subject of the birth
of Pegasus (or Perseus beheading the Gorgon).
Exhibited seldom and sporadically, Blds works
were last shown in an individual show in J997.
Since 2000 his paintings have regularly toured
various cities in Japan, including the Shimose
Fine Art Gallery, Tokyo. James Bld has written
a quantity of articles for journals and exhibition
catalogues. His Paolo Uccello et la reprsentation
du mouvement (ditions de lcole Nationale
Suprieure des Beaux-Arts, republished 2005)
was awarded the Paul Marmottan prize of the
Acadmie des Beaux-Arts. From J999 to 2004 he
served as president of the Aripa (Association pour
le respect et lintgrit du patrimoine artistique),
a society devoted to hghting abusive restoration,
which he co-founded with such artists as Bazaine,
Balthus, Pierre Carron, Cremonini, Raymond
Mason and others. On this matter, see "Soumettre
les uvres la question. Considrations sur labus
des restaurations (Esprit 89, Aug.-Sep. J998). He
currently spends his time teaching and painting.
Faculty Prohles 147
Franois Boisrond
"Figurative painting is alive and well today and uses
a wide range of relevant approaches. Its a pretty
paradox for painting to be at once in two dimen-
sions and made of matter. It is the matter that
`says it all about the artists approach, style and
attitude. There is no such thing as simple, neutral
naturalism, and if the world does not resemble an
image, yet an image can resemble the world.
I think one should take an interest in painting for
the pleasure of it, make the most of ones gifts,
refine ones sense of the medium. In other words,
I think one has to help students to get away tem-
porarily from questions like `Am I an artist? and
`What kind of work should I produce? I would cri-
ticize tradition for prioritizing manual skill. What
counts most to my mind is the desire to see, to
behold as a creative act, to paint with ones eyes
open on the present, and the possibility for stu-
dents to grope their way forward by trial and error
till they hit upon the configuration that produces
the desired reaction.
Born in Boulogne-Billancourt in J959, Franois
Boisrond was involved in the Figuration Libre
movement of the early J980s and embraced a
spontaneous, extremely colorful and casually exe-
cuted style of painting. His work has since evolved
into a more realistic and documentary style, atten-
tive to modern-day reality.
Since J98J his paintings have been shown in
individual and group exhibitions in France and
abroad, including notable shows at the capc in
Bordeaux in J985 and the Fondation Cartier in
J988. Boisrond took part in an event called La
Beaut in Avignon and in a 2000 exhibition at the
cole Nationale Suprieure des Beaux-Arts called
Ce sont les pommes qui ont chang. In 2005 in
Lyon he presented a series of paintings around
the Venice Biennale and in July 2006 he took
part in Eldorado, the inaugural exhibition of the
Muse dArt Moderne, Luxembourg. In 2007 he
participated in the new MNAM hanging for the 30
th

anniversary of the Centre Pompidou.
Alain Bonfand
Esthetics - Theories of art
Alain Bonfand has been teaching in the Theoretical
Study Department at the cole des Beaux-Arts
since J986. He took doctorates in history, then
philosophy, and is accredited to supervise doctoral
research in the held of esthetics at the University
of Paris IV (Panthon-Sorbonne), where he is a
member of the doctoral program "Concept et
langage. He is co-editor with Didier Semin of the
coles "crits dartistes series. Alain Bonfand has
also published a number of books on art as well as
literary works. Noteworthy essays include Paul
Klee, lil en trop, in the series "La vue, le texte
(Paris: La Diffrence); Lettres dAot (Paris: La
Diffrence); LOmbre de la nuit, an essay on
melancholy and anxiety in the works of Mario
Sironi and Paul Klee from J933 to J940, in the
series "Mobile Matire (Paris: La Diffrence);
LArt abstrait, in the series "Que sais-je ? (Paris:
PUF); LArt en France (1945-1960) (Paris: NEF);
La Tristesse du roi, lexprience esthtique
lpreuve de la phnomnologie (Paris: PUF);
Herg, in the series "Coup double (Paris:
Hachette); Paul Klee, "Coup double (Paris:
Hachette); Le Cinma de Michelangelo Antonioni
(Paris: Images Modernes), awarded the Prix de la
Cinmathque Franaise.
Bonfands literary works: Quarante jours dans la
neige (Paris: ditions du Regard); Le Rve de la
guerre, a narrative (Paris: La Diffrence); La
Chambre du cerf (Paris: La Diffrence); Le Malheur
(Paris: La Diffrence); La Craie, in the series
"Fiction et Cie (Paris: ditions du Seuil); LHomme
malade damour (Paris: ditions Bartillat) and Le
Sang clair (Paris: La Diffrence). Most recent
publications: Le Cinma satur: Essai sur les
relations de la peinture et des images en
mouvements (Presses Universitaires de France,
Collection Epimthe, 2007); Histoire de lart et
phnomnologie: recueil de textes 1985-2008
(Vrin, Essais dart et de philosophie, 2009).
148 Faculty Prohles
Wernher Bouwens
Printmaking-Bookmaking Section
In this studio, each student is to develop his or her
thinking on printmaking-bookmaking as a set of
operations that produce printed things. The
possibilities and the constraints imposed by
printing (choice of paper, printing technique,
typography, color, folding, binding, etc.) are to be
adapted, manipulated, invented in accordance
with students artistic projects. Here, printing is to
be thought of straightforwardly as a reproduction
technique-we are in the field of the multiple,
repetition, somewhere between the fine arts and
the media-or else in relation to the status of
printed works. The delicate problem of the status
of these objects is relevant for printing, engraving
and even digital printing. These practices are to
be grasped here by way of contemporary
productions: their recognition as works signifies
that there is no (unique) object and reveals what
there is instead: a procedure, a way of proceeding.
The legitimacy of printing practices is also founded
on their multiple diffusion modes.
This studio is a collective space where each is free
to develop projects with his or her intelligence
and intuition. It is a laboratory where the results
of experiments with various materials are to be
exchanged and where collective critiques work to
construct and enhance each persons thinking.
Studio teaching will be punctuated with collective
publishing projects, enabling us to move beyond
the usual solitary mode of creation.
Wernher Bouwens has been teaching at the cole
since 2006. In his paintings, prints and books,
surfaces act as resonances, as frequence
modulations-screens constructed in accordance
with printing procedures, color following color,
remarkably flat and never mixed together on the
canvas. The colorful, sugary palette attracts the
viewer as sweets attract children-the better to
asphyxiate the viewing eye with a tangle of forms.
In this way of proceeding, the mechanical move
prevents the viewer from seeing the work as mere
personal expression.
Bouwens work has been exhibited several times
in France and abroad.
In 20J0 he opened a new studio in Paris with a
presentation of his recent paintings. In 2008 his
paintings, prints and books were shown at the
Librairie Saint Hubert in Brussels. In 2007 his
engraving work and complete publications were
exhibited at the cole Suprieure des Beaux-Arts
of Angers and he took part in the Chinese
International Print-Making Studio in Xian.
Tony Brown
Director of the Programme La Seine
"From a theoretical point of view, my teaching is
based on an analysis of visual phenomena and
artistic techniques and their relationship to a
social, cultural and historical context. In the
Programme La Seine, my teaching approach has
been to provide students with useful knowledge
and appropriate methodology for developing solid
analytical abilities and innovative production
methods for their work and investigations. Rather
than giving them models to follow, I establish a
dialogue with individual students focused on their
own artistic creation. The idea is to enable them to
develop their artistic practice and theoretical
research. The program is structured so as to allow
hrst-year students to plunge freely and fully into a
well-dehned exploratory process, accompanied by
a critical view of their earlier work. In the second
year, students take part in an exhibition held in a
professional context; they have to show
themselves capable of handling the incessant
demands and movement of the professional world
of contemporary art.
Born in England in J952, Tony Brown has dual
Canadian and British citizenship. He has been
teaching at the cole since J992 and running the
coles Programme La Seine since 2002. After
training at the Nova Scotia College of Art and
Design in Halifax, and Concordia University in
Montreal, where he has also taught, he became an
assistant professor of history and art theory, then
assistant and associate professor of multimedia at
the University of Ottawa. In the last decade Tony
Brown elaborated an approach that might be
termed installation sculpture. His most recent
works refect a new direction: they are architectural
interventions, and multiples and video installations,
often around themes drawn from hlm, architecture
and popular culture. Tony Brown has had solo
shows of his work in galleries and museums in
France and abroad. His works are part of many
public collections-Winnipeg Art Gallery in
Manitoba, the National Gallery of Canada, the
Fonds National dArt Contemporain and the Muse
des Beaux-Arts in Nantes-and many private ones.
Faculty Prohles 149
Drawings from the Collections
Emmanuelle Brugerolles holds a doctorate in art
history and has served as curator of the cole
Nationale Suprieure des Beaux-Arts collections
since J978. Through her teaching and regular
exhibitions and publications she brings the
schools admirable drawing collections to the
attention of students and the general public. She
has presented several aspects of the Collection
in the following cole exhibitions: Renaissance et
manirisme dans les coles du Nord, Les Dessins
vnitiens, Le Dessin en France au XVI
e
sicle,
Le Dessin en France au XVII
e
sicle, Franois
Boucher et lart rocaille and Thodore Gricault,
dessins et estampes. She has also organized
exhibitions around contemporary art collections;
these include La Bella Maniera and Les dessins de
David Smith.
Emmanuelle Brugerolles teaches at the University
of Paris IV-Sorbonne and at the Institut National
du Patrimoine, and she has served on several
Master I and Master II degree juries. She has
organized and hosted numerous seminar sessions
for cole students with lecturers/faculty from
Paris IV and Paris I-Sorbonne. She is on the
editorial committee of Cahiers de lHistoire de lart
and Master Drawings, and is a member of the Prix
Guerlain drawing prize selection committee. She
also teaches drawing to middle school and high
school students in the school districts of Crteil
and Versailles.
In the coles Cabinet Jean Bonna, a recently
arranged drawing exhibition space made possible
by the patronage of the Genevan collector Jean
Bonna, she organizes smaller exhibitions of works
from the cole collections and contemporary
drawings. In 2009 in this framework she presented
three exhibitions: Le dessin Florence au temps
de Michel-Ange, Matrice de sve by Giuseppe
Penone, and LAcadmie mise nu.
Tania Bruguera
"My aim in the studio is to explore how things be-
come artistic, to see what transforms the moment
into art, to facilitate a process that will enable
students to learn to create contexts for their art
work and establish criteria for testing that work.
The studio offers a critical environment that will
enable students to investigate their relationship
to knowledge, technology, society and their own
community. Interdisciplinary and extra-curricu-
lar activities will be organized, and students will
be asked to refect on experience in and of the
professional world. The studio will be a space in
which thought and practice can intersect, a space
of critical discussion and production where each
student develops his or her own criteria and ideas
about the function of art.
Tania Bruguera is an artist of international renown
noted in particular for her work around the rela-
tions between art, life and politics, and for interac-
tion with the public by way of performances.
She is particularly interested in how art can be
made to inhltrate ordinary political life, not only as
a means of self-refection but also as a means of
creating and instituting models of social interac-
tion that will provide new means of establishing
a connection with utopia. She envisions art as
experience, a means of self-refection, and fertile
ground for developing utopian projects. In this
connection she has elaborated such concepts as
art as behavior, useful art, and contextual art.
Another of her preferred areas of exploration is
how to present models of negotiation in connec-
tion with making the work visible as art. In Bru-
gheras work, the denominative function meta-
morphoses into a participatory one. Her artworks
do not always immediately reveal themselves as
a negotiation between what is real and what is
represented, but rather as intensihcation of just
that tension.
Born in Cuba in J968, Tania Bruguera lived and
taught in Chicago until 2009. She studied and
did a Masters at The School of the Art Institute
of Chicago and the Instituto Superior de Arte,
Havana. Since 200J, her work has been presented
in many international exhibitions, including
Kassels Documenta and several times at the
Venice Biennale.
Brughera has had personal shows at the Vienna
Kunsthalle, the Lorraine FRAC, the Museo Nacio-
nal de Bellas Artes, the Bronx Museum and the
Gallery Juana de Aizpuru, among others.
Her works are included in several public collec-
tions: the Tate Modern, London; New Yorks Mu-
seum of Modern Art and the Frankfurt Museum fr
Moderne Kunst.
She has been awarded the Guggenheim Fellowship,
the Prince Claus Prize and the Neuberger Prize.
150 Faculty Prohles
Jean-Marc Bustamante
Born in Toulouse in J952, Jean-Marc Bustamante,
an autodidact, has been teaching at the cole
since J996. He worked as assistant to the photo-
grapher and hlm director William Klein, and in
J977 began executing his own large-format
photographs, which he called Tableau. He went on
to collaborate with Bernard Bazile under the name
of BazileBustamante. These projects, essentially
an exploration of pictorial codes and sign systems,
established his reputation in the art world. After
J987 Bustamante pursued his career on his own,
creating works with a complex vocabulary that
combine processes drawn from a variety of media.
Today he is turning in the direction of painting
Bustamantes work has been widely exhibited
throughout the world, with noteworthy shows
at the Muse dArt Moderne de la Ville de Paris,
the Tate Gallery in London, the Galerie Nationale
du Jeu de Paume in Paris, the Kunstmuseum of
Wolfsburg and the Van Abbmuseum in Eindhoven.
He took part in Documenta 8, 9 and J0 in Kassel
and represented France at the 50
th
Venice Biennale
in 2003. In 2006 there were major solo exhibitions
of his work at the Kuntshaus in Bregenz and the
Muse de Saint-tienne.
In 2007, Fabrice Hergott and Jean-Pierre Criqui
presented an exhibition intitled LHorizon chim-
rique around works by Ed Ruscha and Jean-Marc
Bustamante.
He was artistic director of the Printemps de Sep-
tembre, Toulouse, in 2004, 2005 and 2006.
In 2008 he had several solo shows: MACs (Muse
des Arts Contemporains), Grand Hornu, Belgium;
Le Grand Tour, BOZAR, Palais des Beaux-Arts/
Paleis voor Schone Kunsten, Brussels. In 2009,
hrst retrospective show in Moscow, at the Fonda-
tion Ekaterina. Currently preparing a retrospective
show of his sculptures to be held in 20JJ at the
Henry Moore Foundation, Leeds.
Elsa Cayo
"I encourage students to use the studio as a
laboratory where they will be able to test what their
imaginations suggest or dictate to them. Students
are free to experiment with all materials and media
because a work of art is rooted not in a technique
but in thought.
The point is to help each student to circumscribe
and formulate his or her projects while bringing out
the intellectual and practical issues involved and
the concrete conditions for realizing them.
I facilitate exploration and experimentation that
allow each student to find his or her own visual-
material language. I encourage students to extend
their practice beyond technological tools and in--
struments and to `sort out not only their ideas but
also their productions.
Elsa Cayo was born in Peru. After studying visual
arts and literature in Lima, she studied theater in
Santiago, Chili. In the late J970s she made the
move to Europe, where she became involved in the
art scene, creating a contemporary arts bookshop
in Brussels. In J982 she made a J5-minute video
intitled Qui vole un uf, vole un uf, now part
of the MoMA and Centre Pompidou collections. Her
other video creations include Nez, Gorge, Oreilles;
Le Java, and more recently Homes & Gardens;
her films include Que sais-je? in J6 mm, and in
35 mm Allgorie: O sont passs les chameaux?
and Obstacle au mouvement: Didier Vermeiren,
sculptures et photographies. In her work and
development, Elsa Cayo has consistently engaged
dialogue between cinema and the visual arts.
In 2006, Sixtine de Sainte Croix wrote a Masters
thesis at the Universit de Nanterre-Paris X under
the supervision of Thierry Dufrne entitled Elsa
Cayo, ralisatrice. La reprsentation mire.
Elsa Cayo has recently published a portfolio of
J00 photographs from a series entitled Figures.
In 2008, films of hers were presented as part of
an exhibition entitled Le couloir des miroirs (art &
cinma) at the FRAC-Limousin. Her film Allgorie:
O sont passs les chameaux? was presented at
an exhibition at the cole Nationale Suprieure
des Beaux-Arts entitled Lcole de la Libert: tre
artiste Paris 1648-1817. In 20J0, Travaux choisis
(selected works) at the Muse de Beaux-Arts of
Brest.
Faculty Prohles 151
Theoretical Study Department/
History of contemporary art -
History of photography
Graduate of the cole Normale Suprieure, agrg
in French literature, art historian and critic. Has
been teaching history of contemporary art in the
cole des Beaux-Arts Theoretical Study Department
since J988. Author of several essays on exchanges
and interaction between literature and the visual
arts in the 20
th
century, modern and contemporary
art, and the history of photography. He has also
published an essay on the art historian Jurgis
Baltrusatis, and worked in the area of architecture
and art in urban settings.
Founded the review Photographies and was editor-
in-chief from J982 to J985. General advisor for
Documenta X in J997. Has organized approximately
J5 international exhibitions since J987 with
accompanying catalogues, including Une autre
objectivit/Another Objectivity; Foto Kunst; Walker
Evans & Dan Graham; Des territoires; yvind
Fahlstrm; LAction restreinte. Lart moderne selon
Mallarm. Most recent publications: Jeff Wall: essais
et entretiens, 1984-2001 (Beaux-Arts de Paris
les ditions, 200J, 2005); Paysages territoires:
lle-de-France comme mtaphore (Parenthses,
2002); LAction restreinte. Lart moderne selon
Mallarm (Hazan, 2005); Des faits et des gestes:
Le parti pris du document, in Communications 71
(200J) and 79 (2006), Jeff Wall (Hazan, 2006),
and Proust et la photographie: la rsurrection de
Venise (LArachnen, 2009).
In 20J0 the editions LArachnen, Paris, published
three anthologies of his writings: La Trame et
le hasard; Walker Evans dans le temps et dans
lhistoire; Entre les beaux-arts et les mdias:
Photographie et art moderne. Four other anthologies
are soon to be published: Les Relations du corps
and Des territoires (to come out in January 20JJ),
LHallucination artistique (Fall 20JJ) and Cuvre et
activit (20J2).
Chevriers teaching at the cole is accompanied
by a seminar entitled Des territoires which brings
together art history and information from current
events, economic geography, anthropology, urban
planning, etc. In 200J the seminar gave rise to an
exhibition, Des territoires, in the galleries of the
cole Nationale Suprieure des Beaux-Arts.
Marie-Jos Burki
"The studio is a place of questioning, of individual
and collective exploration and research, a place
where art forms, practices and issues are probed, a
place where art intelligence together with sensory,
visual, practical and intellectual comprehension
are developed, a place for discussions in which
information-often contradictory and paradoxical-
is exchanged.
My work in the studio will be to accompany each
student in a way that facilitates students dehning
of a workspace and enables them to develop their
practice while providing intellectual, technical
and historical touchstones that will allow them to
contextualize their work, develop their approach,
and work to become responsible for what they
produce. While school is not cut off from the
outside world, nor is it entirely open to it. To
work in a studio is to develop critical hlters and
connecting passages between school and what is
outside of school.
Marie-Jos Burki was born in J96J in Bienne,
Switzerland, and has been teaching at the cole
since 2008. She holds a licence in literature and is
a graduate of the Haute cole dArt et de Design
of Geneva.
In J989 she spent a year in New York as part of the
PSJ Studio Programm, returning to Europe-Paris
and Geneva-in J99J. In J992 she took part in Jan
Hoets Documenta IX. In J995 she had her hrst
major exhibition at the Basel Kunsthalle (curated
by Thomas Kellein). She joined the Galerie Philip
Nelson in Paris in J997. In J998 she began a
series of solo shows at the Berne Kunsthalle,
the Bonn Kunstverein, the Camden Art Center in
London and the Wrtenbergische Kunstverein of
Stuttgart (curated by Martin Hentschel). In J998
she had her hrst one-woman show in New York,
at the Lehmann Maupin gallery, and produced a
radio piece for the Swiss-German radio station drs
2. In J997 she began work on a hlm and audio
project for public space in Manhattan; in May
200J the hlm was screened on the ventilation
tower of the Holland Tunnel. From 2002 to 2003
she headed the graduate program at the Ecole
des Beaux-Arts of Lyon, and from 2003 to 2008
she was a professor at the Hamburg Hochschule
fr Bildende Knste. In 2003, she had her hrst
one-woman show in Belgium, at the MACs, Grand
Hornu. She has taken part in group exhibitions
at the Folkwang Museum in Essen, the Antwerp
Museum of Contemporary Art and the Bonn
Kunstmuseum.
152 Faculty Prohles
Philippe Cogne
"The twentieth century has seen a great
variety of exciting technical and technological
developments; the twenty-hrst promises to be
richer still. Our perception of time and space has
been considerably transformed, and with it our
ways of seeing. Because we are living witnesses of
and actors in these changes, our duty as makers
of visual art is to invent new interpretations of
those ways of seeing.
How should the pictorial act be situated within
these new helds of perception? How can technique
and form be made to correspond in such a way as
to produce meaning? What means and techniques
can painting use that will not distort it or change
its nature? These are the questions we explore in
my studio, conceived as a laboratory space.
Philippe Cogne was born in Nantes in J957 and
lives and works there. He spent his childhood and
adolescence in Benin. He taught at the cole des
Beaux-Arts in Angers before coming to the Beaux-
Arts de Paris in 2005. He began showing his work
in the early J980s, a period of deep interest in the
question of what is hgurable. He showed in both
French and foreign galleries, namely at the Muse
des Beaux-Arts of Nantes in J988. At the time, his
painting and sculpture centered on memories of
sensations and feelings from his past in Africa.
With the new decade of the J990s came a radical
change, a move to integrate photographic, then
hlmic images into the process of creating painted
ones. This photographic approach was enriched
with the painting technique of iron-heated wax,
a blurring technique which enabled him to realize
a very specihc type of painted image, to create
a singular effect of dematerialization. His painted
universe now seemed organized around the
diametrically opposed poles of construction and
destruction.
In the last twenty years he has exhibited his
work in numerous institutions and galleries. He is
currently represented by the Galerie Templon in
Paris and the Galerie Alice Pauli in Lausanne.
Philippe Cogne has had several solo shows.
In 2008 he showed at the Galerie Alice Pauli,
Lausanne, and in late 2009 and 20J0 at the
Galerie Templon, Paris.
2009-20J0: a J% public commission for the
Chteau de Versailles; publication of a monograph
prefaced by Henry-Claude Cousseau (ditions
Daniel Templon); participation in Cest la vie:
vanits, at the Muse Maillol, Paris.
Philippe Comar
Drawing Section / Morphology -
Drawing "visits"
Philippe Comar has been teaching as a professor
of morphology and drawing at the cole since
J979. He has exhibited at the Centre Pompidou
(Nouvelles acquisitions du MNAM in J98J and In
Situ in J982, Donation Daniel Cordier in J990),
the Venice Biennale (Arte e scienza in J986), the
Mcsarnok Kunsthalle in Budapest (Perspective
exhibition, J999) and at the Picasso Museum in
Barcelona (Oblidant Velzquez - Las Meninas,
in 2008). The MNAM-Centre Pompidou and the
Fonds National dArt Contemporain have acquired
his works. Comar designed the Stnop exhibition
on spatial perspective and simulation of space, on
view at the Cit des Sciences et de lIndustrie in
Paris since J987. In J999 he designed the sets for
Pierre Dardes production of the ballet Orison at
the Opra National de Paris. He has collaborated
on the planning of a number of exhibitions,
including Lme au corps, art et science at the
Grand Palais in J993, Identit et Altrit at the
Venice Biennale in J995, LArt du nu au XIX
e

sicle at the Bibliothque Nationale de France in
J997, Mlancolie, gnie et folie en Occident at the
Grand Palais in 2005, LHomme-paysage (Palais
des Beaux-Arts de Lille, 2006), Les Annes 30
(Ottawa: Fine Arts Museum of Canada, 2008),
Lucien Freud, latelier (Centre Pompidou, 20J0)
and Crime et chtiment (Muse dOrsay, 20J0).
Philippe Comar curated the exhibition Figures du
corps, une leon danatomie lcole des Beaux-
Arts at the cole in Fall 2008 and edited the
exhibition catalogue.
He has written for several journals, including
Opus International, Le Moule gaufres, the
psychoanalytic reviews f.a. and Penser-rver,
handling such subjects as monstruosity, organs,
erotomania. Comar is the author of La Perspective
en jeu (Gallimard, J992), Les Images du corps
(Gallimard, J993), Mmoires de mon crne
(Gallimard, J997), Obscnits, photographies
interdites dAuguste Belloc (Paris: Albin Michel,
200J) Les Dunes dAmbleteuse (Paris: Arla-
Seuil, 2004), and Lucien Freud, peintre de la
nudit (Gallimard special publication, 20J0).
He has been coordinator of the coles drawing
section since 200J.
Faculty Prohles 153
Claude Closky
Claude Closky lives and works in Paris.
Exhibitions in 20J0: MCBA (Minneapolis), CREDAC
(Ivry), BPS (Charleroi). 2009: MU (Eindhoven),
ESAH (Le Havre), AC (New York), MAC (Lyon).
2008: FMAC (Paris), MACVAL (Vitry), CCCS
(Florence), PAN (Naples), ADDC (Prigueux),
SEMA (Seoul). 2007: QAG (Brisbane), MUDAM
(Luxembourg), MADRE (Naples). 2006: MOMA
(New York), MOMA (Zendai), MNAM (Paris), CPG
(Geneva), CAN (Neuchtel). 2005: GEM (The
Hague), MAM (Mexico City), CAC (Trento), MARCO
(Vigo). 2004: CRAC (Altkirch), ZKM (Karlsruhe),
CAC (New Orleans). 2003: MGLC (Ljubljana), CNP
(Paris), GAM (Turin), FACT (Liverpool). 2002:
DCA (Dundee), OCA (Sao Paolo), CCC (Mestre),
MAC (Montreal), SMOCA (Scottsdale), MEP (Paris.
200J: UCAD (Paris, TFAM (Taipei), CCAC (San
Francisco), CAC (Siena). 2000: CCC (Tours),
MG (Ljubljana), CPIF (Pontault-Combault), MAM
(Lille), MAMPV (Paris), WAC (Minneapolis), PDE
(Rome), CCC (Barcelona), MAC (Skopje). J999:
FRAC (Limoges), CNEAI (Chatou), CAC (Ticino),
ATA (Plovdiv). J998: CAC (Meymac), CAC
(Atlanta), CCG (Chicago). J997: MOCA (Herzliya),
CAPC (Bordeaux), SGG (Geneva), GAG (New
York), MAC (Marseille). J996: CCA (Glasgow),
MOCA (Sydney), CDC (Paris), LACE (Los Angeles).
J995: CAC (Delme), CAC (Geneva). J994: CEC
(Geneva), CAC (Brtigny), MCA (Moscow), MOMA
(Akita).

For more information see www.sittes.net and
www.closky.info
Patrick Devreux
To give due critical consideration to the work
of each student through group discussions, fre-
quently with other professors. Printmaking-book-
making section courses are balanced between
artistic practice and learning printing methods.
With their specihc media, these studios are pla-
ces for analysis and patience, but by no means
for reproduction. The combination and confronta-
tion of various techniques (lithography, silkscreen
printing, engraving, aluminum photo-etching,
digital printing) should enable students to design
and produce either single or multiple engravings
and artists books. The professors role is to elicit
emulation, bring students together on collective
and individual projects, communicate his enthu-
siasm, the need to know art history, appreciation
for drawing and the pleasure of doing it.
Born in J949 in Paris, Patrick Devreux lives
and works in the Gard. He has been teaching
at the cole since J998. In J975 he and Evelyn
Gerbaud created the Atelier/Edition de St Christol
de Rodires. He is a member of the Salon de
Mai steering committee and collaborates on the
review Passage dencres. He has exhibited his
work in France, Switzerland, Belgium and Sweden
since J975. From J989 to J994 he took part in
the printmaking-bookmaking section of the FIAC.
Devreux has published several artists books:
lithographs (ditions Tadem) and a book of sun-
engraved photographs, text by Jol Bastard. In
2008, work of his was published under a piano
text by Nicole Malinconi (Editions Esperluete);
in 20J0 he published ce qui sen va toujours,
with Jol Bastard (Editions Ngro Solimes). His
works have been acquired by the Muse de Saint-
Rmy-de-Provence, the city of Villeurbanne, the
Cabinet destampes de la Bibliothque Nationale
de France, art-lending libraries of Marseille,
Nmes, Montpellier, Arles, Auxerre, Cherbourg, La
Rochelle, Chambry, La Roche-sur-Yon, Miramas,
Istres; and his artists books by public libraries in
Marseille, Nmes, Dijon, Auxerre.
Paintings of silence. The closed world of Patrick
Devereux is that of his interiors; he communicates
their poetry to us in the mirror of a transposed
reality. What physical verisimilitude can we expect
from painting other than that inherent in the
expressive fusion of matter and spirit, paste and
light? The subject hxes intemporal forms without
losing its truth. The canvas becomes an inhnite
space where the slightest impulse of illusion is
consumed. The refusal to make any reference to
realism leads the artist to pare down his themes,
limiting them to interiors and the nude.
Lydia Harambourg, Catalogue Gallery Artfrance,
2006.
154 Faculty Prohles
Elie During
5
th
-year seminar
Born in J972 in Teheran, Elie During studied
philosophy at the cole Normale Suprieure (ENS)
of the rue dUlm in Paris and at Princeton University.
Agrg with a PhD in philosophy, he has taught at
the ENBA of Lyon and the art school of Annecy. He
is currently Matre de Confrences at the Universit
de Paris Ouest-Nanterre and a member of the
Centre International dtude de la Philosophie
Franaise Contemporaine at the ENS.
Durings current research involves exploring
the diversity of space-time constructions in
contemporary worlds. He is on the editorial
committee of the journal Critique and co-directs
the collection MtaphysiqueS at the Presses
Universitaires de France (PUF). He also co-directs a
seminar called Constructivismes at the Ecole des
Beaux-Arts (see constructivismes.blogspot.com/).
Durings publications include two anthologies,
Lme (J997) and La Mtaphysique (J998), both
published by Flammarion; a study in the philosophy
of science entitled La Science et lhypothse:
Poincar (Ellipses, 200J); participation in Matrix,
machine philosophique, a collective work elicited
by a science hction movie (Ellipses, 2003); a
book of interviews with Bernard Stiegler entitled
Philosopher par accident (Galile, 2004); a critical
edition of Bergsons Dure et simultanit (Presses
Universitaires de France, 2009); In Actu, a collective
work on experimentation in art (Presses du Rel,
2009); Faux raccords, an essay on the coexistence
of images (Actes Sud / Villa Arson). In 20J0 PUF will
be publishing his Bergson et Einstein: la querelle de
la relativit, and he has published several articles
on contemporary philosophy (from Bergson to
Deleuze and Badiou), philosophy of science, and
philosophy of art.
Personal website:
www.ciepfc.fr/spip.php?article93.
Patrick Faigenbaum
Co-teaches with Marc Pataut
"The possibilities of photography are at once
pictorial and narrative. Students can learn to
produce images and to tell stories visually. This
learning process takes place on three levels:
shooting techniques; selecting and mounting
the images; fashioning the hnished product and
printing techniques. To this is added the project
idea, which includes both the shooting and
concrete realization of the images, and gives
the work evolving continuity. This is also where
the studio dynamic becomes effective, where
individual pursuits intersect with a shared intention
or understanding. It is in this group dynamic that
the differences in approach and attitude that have
brought us (Marc Pataut and me) together over
the years can serve as an example for students.
Born in Paris in J954, Patrick Faigenbaum lives
and works in the city and has been teaching at
the cole des Beaux-Arts since 200J. He studied
painting and graphic design from J969 to J973.
Since J973, when he took up photography,
his work has been particularly concerned with
representating the human face. In J984, after
doing portraits of friends and family, he took
advantage of several stays in Florence, Naples
and Rome-he was awarded a grant from the Villa
Medicis in J987-to photograph descendants of
illustrious families who had hgured prominently
in the Italian Renaissance. His work is about
groups: genealogy and peoples relationships with
other members of their family, their "circle, the
places where they live. His main exhibitions since
J980 have been in Paris, Marseille, Rochechouart,
Nmes, Tours and Grenoble; also in Germany, the
Netherlands, Italy, and New York, Chicago and
Toronto. From J996 to J998 Faigenbaum was
invited to Bremen as artist-in-residence at the
Neuen Museum Weserburg to carry out a project
on the city, and he took part in Documenta X.
Recent solo shows: 2008 at the Artothque de
lHtel dEscoville, Caen; the Galerie Nathalie
Obadia (Santulussurgiu, Xavier Barral), Paris; the
Kunstmuseum, Bochum, the Mishkan Le Omanut,
Muse Art, Ein Harod, and the Muse dArt, Grenoble
(Cuvres 1973-2008, Xavier Barral).
In 2008 he took part in the Barcelona Photographic
Survey at the MACBA, Barcelona, and the exhibition
Kibbuz, with Penny Yassur, at the Kunstmuseum,
Bochum. In 2009 he exhibited in PhotoEspaa
2009, Circulo de Bellas Artes, Madrid, and at the
Muse dArt contemporain de Srignan with Claire
Tenu. In 20J0, the exhibition People and Places at
the Barbara Mathes Gallery, New York.
Faculty Prohles 155
Daniel Dobbels
5
th
-year seminar
Born in J947, Daniel Dobbels hrst studied literature,
which led him in non-paradoxical fashion to mime
and contemporary dance (J975). In J976 he began
dancing for Susan Buirge, Alex Witzman-Anaya
and Christine Grard. Meanwhile he did his hrst
choreographic works, in collaboration with Mat
Fossen, Franois Verret and Christine Grard: Le
Silence des sirnes (J984). He then began doing
his own choreographic works in Arcor, including
Noli me tangere (J985), Sans connaissance
(J986), LEnfer (J987), LAbsence dcho (J988),
Et le ciel reste intact (J990).
After founding the review Empreintes, dedicated
to texts on dance (J977), he became art critic at
Libration (J982-J992) and a regular commenta-
tor for the France Culture radio station Panorama
program (J987-J997), while publishing a number
of works on art and dance (Stal, Bruegel, Martha
Graham, Danses traces, and others). In J987
he joined the editorial board of the review Lignes
(J987-J999). He began research and exploration
into contemporary dance by way of lecturing and
cultural actions such as the Nuit du cinma et de
la danse allemande. Since 2003 he has been a
regular participant in France Cultures program
"Tout arrive.
From 2000 to 2003 for the De lEntre-Deux dance
company, Dobbels reworked LEnfer, and did a
choreographic work on Oskar Schlemmer entit-
led Est-ce que ce qui est loin sloigne de ltre
humain ? as well as She never stumbles, a solo
piece danced by Brigitte Asselineau. In 2005 he
created Ni/Et, a choreographic approach to the
work of Morton Feldman, and 10. As part of an
exhibition at the Muse Pierre-Andr Benoit in
Als, in collaboration with the Scne nationale Le
Cratre, he created a dance event around Francis
Picabia entitled Llgance dun soir.
2007: in March Lpanchement dcho, a creation
for the Val-de-Marne Biennial; in April LInsensi-
ble dchirure at the Thtre de la Ville and Cit
Internationale, Paris; in July in Montpellier, a solo,
Lcharpe grise, in the framework of Vif du Sujet,
organized by the SACD. Dobbels gives many lec-
tures on dance and art, some related to his cho-
reographic work.
He is also the author of LOrtie, a 800-page pome-
feuve read in public at the Triangle in Rennes in
October 2005. In 2007 he published Le Silence
des mimes blancs (ditions La Maison d ct)
and Des gestes non mortels (Micadanse).
Choreographic creations in 2008: Parfois la colre
tombe; Un temps rare; Les Yeux blonds. In 2008
he published Pas dOs (ditions La Maison d
ct) on Samuel Beckett.
Because of their similar ideas about teaching and
their shared belief that bringing together different
views, concerns and teaching methods is enriching
for students, Sylvie Fanchon, Dominique Figarella
and Bernard Piffaretti have been teaching their
studio courses jointly since 2002. A vital point of
their shared educational approach is their view of
present-day pictorial practices through the prism
of their relations with other contemporary art
practices. The three work spaces have thus come
together and students attend according to their
particular artistic and study directions and the
inherent demands of their various projects.
Generally speaking, the instructors lead students
to critically examine their work, both in relation to
their personal inclinations and in view of historical
and contemporary considerations, and in so doing
to gain a deeper understanding of the ways their
artwork hts into a context, a heritage, a "family
of artistic thought.
The studio emphasizes hangings and exhibitions;
it meets often and regularly for critiques of stu-
dents work. These sessions allow for identifying
the origins of individual artistic leanings and com-
mitments and verifying their relevance.
At the end of the course, contacts are set up to
integrate students visual and material explora-
tions of reality and encourage exchange.
From 2004 to 2007, collaboration between combi-
ned studio students and students in the "Exhibition
arts Master Pro program at the Sorbonne-Paris IV
resulted in bi-monthly joint hanging and critique
sessions. In 2009, visits with the curators of the
following exhibitions: Art is Arp at the Muse dArt
Moderne et Contemporain, Strasbourg, and Ils ont
regard Matisse, une rception abstraite - Etats-
Unis, Europe 1948-1968 at the Muse Matisse,
Cateau-Cambresis.
P2F : The combined
Piffaretti, Fanchon and
Figarella studios
156 Faculty Prohles
Dominique Figarella
"Suppose we compare contemporary artistic
culture to a stretch of land. Everyone will agree
that it has hardly any distinct boundaries and that
the concept of a work of art can no longer be
pinned down to a single domain that could be
called its own. Yet it is in a tiny nook the size of a
handkerchief, hardly big enough to turn around in,
that the area of inscription of a pictorial act is
dehned. To choose the four old corners of a
parallelogram, worn and frayed by the history of
painting-i.e., to make pictures nowadays-is
immediately to posit the principles of a special
kind of artistic behavior: it is to restrict oneself
voluntarily to an absurd dogma in the midst of an
inhnite array of technological and theoretical
possibilities. It has to be brought home to students
that the choice of painting should in no case
constitute a withdrawal or turning in on oneself. In
the course of group discussions or one-on-one
meetings, we will try to hnd a way to ensure that
this choice constitutes an active attitude. Painting
cannot be an activity experienced as passive
acceptance of a heritage of already established
relevance. The course will frequently be open to
students who dont paint, who use video,
photography, installations, sound, sculpture,
writing and other media. We will debate together
the way these other young artists perceive the
paintings done here, and the point of view from
which they envisage and practice their art.
Dominique Figarella lives in Montpellier and has
been teaching at the cole des Beaux-Arts since
200J. His paintings have been shown regularly in
Austria, the US, Switzerland and Spain.
In 2008 he showed individually at La Station, Nice,
and LIFE (Lieu International des Formes
mergentes) in Saint-Nazaire, and took part in
several collective exhibitions: Rot, Red, Rouge at
the Kunstraseum, a residence gallery in Salzburg,
and + de ralit at the Hangar Bananes, Nantes.
In 2009: solo shows at the Muse de Srignan,
the Carr Sainte Anne, and the Galerie Vasistas,
Montpellier. In February 20J0, solo show Le life,
Saint-Nazaire.
In 20J0 in Paris, Montpellier, Frankfurt and
Utrecht, he presented Soapra, a work done in
collaboration with Mathilde Monnier.
The Piffaretti, Fanchon and Figarella studios are
combined in P2F (see p. J55).
Faculty Prohles 157
Sylvie Fanchon
"In a society whose visual system is constructed
on the basis of analog and digital images, painting
is not just one more technique for reproducing the
visual but a practice that questions the different
ways in which the real is visible.
Despite the fact that our view of history is itself in
perpetual movement, I believe that painters
investigations have the status of acquired under-
standing. The history of the canvas is so old that
the canvas has become an available locus, a space
of stratihed thoughts that are both specihc and
generic.
I take that space for what it is: a convention, a
surface.
I work from `extracted forms. Though these forms
came out of the world they are not representations
of it, in the sense of a hguring, but rather
schemata, syntheses of objects in the world-they
are verihcations. I use reduced means-painting
allows this. There isnt much in the way of technical
constraints.
Sylvie Fanchon lives and works in Paris. Recent
solo shows: Ronds-Points at the Muse des Beaux-
Arts of Amiens, Fall 2007; Once again at the
Espace Main Forte, March-April 2009; Donation
Mario Prassinos (Summer) Galerie Jordan, Zurich,
Fall 2009.
Participation in recent collective exhibitions: in
2008, + de ralit, pratiques contemporaines de
labstraction at the Hangar Bananes, Nantes,
and FRAC Ile-de-France, the Mac Val collection; in
2009: Ce qui demeure est le futur, Muse de
Picardie, Amiens; in Summer 20J0: Elles, Centre
Pompidou and Casanova, Muse de Srignan; and
in May, multiples, CREDAC
Sylvie Fanchons artistic practice has been studied
in two recent publications: Sylvie Fanchon, texts
by Vincent Pcoil and Jean-Pierre Cometti (ditions
Analogue), and Ronds-Points, text and interview
by Sylvie Couderc, Muse de Picardie, Amiens.
Her works hgure in a number of permanent public
collections: MNAM-Centre Pompidou, the FNAC,
the FRAC le-de-France and the Muse de Picardie,
Amiens.
Michel Franois
"There is no discontinuity between the studio, the
street, the world and the school. I think of tea-
ching as a full-fedged artistic practice in itself.
This `horizontal method enables me to reconcile
the internal and external necessities of the project
of making art. How are we to remain conscious,
open to the world, to current events, history,
other artistic, scientihc and political practices
while responding to the desire for and demands
of self-expression?
This studio is a space that opens onto the world,
a space in which ongoing exchanges take place
around artistic action (or inaction) and where we
will develop critical minds that are open to each
persons qualities, knowledge and experience.
Students will regularly present their work or
projects, and outside visitors will often be invited
for critical discussion.
Michel Franois was born in J956 in Belgium; he
lives and works in Brussels.
After two years studying theater at the Institut
National Suprieur des Arts du Spectacle (INSAS),
he made a few independent hlms, documentaries
and hction, then lived for some time in Africa.
On his return he took a degree at the cole de
Recherche Graphique (ERG), where he later
headed the sculpture studio. He has served
as an advisor and been a guest artist at the
Rijksakademie, Amsterdam.
Michel Franois has taken part in many interna-
tional exhibitions, including Documenta IX (J992),
the 22
nd
Sao Paolo Biennial (J994) and the
Istanbul Biennial (J996). In J999 he represented
Belgium at the Venice Biennale, together with Ann
Veronica Janssens. He is or has been represented
by galleries in Paris (Jennifer Flay), New York
(Curt Marcus, Stefania Bortolami), Brussels (Isy
Brachot, Marie Puck Broodthaers, Xavier Hufkens),
Berlin (Carlier-Gebauer), London (Thomas Dane),
Amsterdam (Lumen Travo) and Rome (Galleria
Sales). In J999 and 2000 two major monographs
were done on his work, one at the Kunsthalle,
Bern, the other at the Haus der Kunst in Munich.
In 2009 he had a large retrospective show at the
SMAK, Ghent; in 20J0 at the IAC in Villeurbanne.
Michel Franois also collaborates regularly with
choreographers (Pierre Droulers, Anne Teresa
De Keersmaeker and others) and has curated a
number of projects (including Appartement
Louer, Bureau NICC Augment, La Ricarda, Faux
Jumeaux). His works and installations may be
seen in numerous public collections in France and
abroad.
Dominique Gauthier
"The point is to teach and think about painting
in the realm of art and contemporary society
as a voluntary, responsible act rather than the
introverted exercise of a sheltered practice. Each
image establishes a relationship with the world,
a response, accent or anticipation that needs to
be constantly remobilized in the present and the
real world. Painting, which guarantees a history
of the visible and associated problematics, inte-
grates and mixes with the new visual economies
and practices. It is qualitatively close to them;
consequently, the way it is taught will be veri-
hed and questioned in relation to them. Practical
work in the studio is an open, active experience,
where diversity of approaches and interchange is
constantly encouraged, and the links with other
spheres of activity at the cole will ensure the best
possible display of creativity. What we experiment
with here is the fragile existential tool of deter-
mination.
Born in J953 in Paris, Dominique Gauthier lives
and works in the Hrault. He has been teaching
at the cole since 2000. His hrst individual show
was held in J978; he then exhibited at the capc
in Bordeaux (J979), the Galerie Fournier in Paris
(J98J), the Centre Pompidou (J982), the Fonda-
tion Cartier (J987) and in several museums and
art centers in France. He has executed public
commissions for the Lyce Mermoz in Montpellier
and the Cit Rodenbach in Brussels.
Presently, in connection with the crucial exer-
cise of form and form installation, the artwork is
conceived as an idea, a response to structuring
thoughts and techniques wherein mobility is afhr-
med as a consecutive axis.
In 2005 the artist realized several works out of
doors: at the Chteau de Castries, a tribute to the
architect Le Ntre, and at the Muse of Collioure,
a tribute to Matisse. A work commissioned in 2007
by the Muse dArt Moderne, Cret, was presented
in early 2008. Also in 2008, retrospective shows in
Turin and Luxembourg; participation in the collec-
tive show France Art Belgique in connection with
the French presidency of the European Union, and
in La Peinture en questions. The year came to a
close with a solo show entitled cent mtres du
centre du monde, in Perpignan (France), Valencia
(Spain) and at the Galerie des Filles du Calvaire,
Paris.
Gauthier is currently working on two public com-
missions and a set of editions. In 20J0 and 20JJ,
solo shows at the Muse dArt Moderne, Cret;
Arts Santa Monica, Barcelona; Villa Tamaris, La
Seyne-sur-Mer; and Verksmidjen, Iceland.
/www.dominiquegauthier.net
dominique.gauthier.dominguez@wanadoo.fr
158 Faculty Prohles
Monique Jeudy-Ballini
Anthropology-history,
with Maurice Godelier
An ethnologist specialized in Oceania, Monique
Jeudy-Ballini is a research director at the CNRS
and member of the Laboratoire dAnthropologie
Sociale of the Collge de France, Paris. Since J980
she has lived regularly among the Sulka population
of the island of New Britain, Papua New Guinea.
After completing her thesis on Sulka representa-
tions of sexual identity, she has published works
on the status of the chieftains daughters, the oral
tradition, adoption practices, new forms of reli-
gious belonging, ceremonial exchange systems
and modes of cooperation within this Melanesian
society. She has been conducting an ethnographic
study in the milieu of the luxury goods industry in
France, and has written several articles on factory
work, how "distinction is imagined, and subjects
relation to the image of the body. Her research
in anthropology of art includes her latest book on
primitive art collectors, a subject which has been
the focus of several seminars of hers at the cole
des Hautes tudes en Sciences Sociales. Her main
publications include People and Things: Social
Meditations in Oceania, co-edited with B. Juillerat
(Durham, N.C.: Carolina Academic Press, 2002),
LArt des changes. Penser un lien social chez les
Sulka (Lausanne: Payot, 2004), Les Cultures
luvre. Rencontres en art, co-edited with M. Coc-
quet and B. Derlon (Paris: Biro diteur/ditions
de la Maison des Sciences de lHomme, 2005) and
La Passion de lart primitif. Enqute sur les col-
lectionneurs, co-edited with Brigitte Derlon (Paris:
Gallimard, 2008).
Faculty Prohles 159
Maurice Godelier
Anthropology-history,
with Monique Jeudy-Ballini
Born in J934 in Cambrai, a graduate of the cole
Normale Suprieure and agrg in philosophy,
Maurice Godelier is an anthropologist specialized in
Oceania, where he spent seven years doing held
work among the Baruya, a tribe which used stone
tools up until J950. There he had the opportunity
to observe and analyze the hrst stages of the
colonial situation and the rapid political, economic
and cultural transformations it brought with it: the
cessation of tribal wars, entry into the global
market, Christianization by various European and
American missions, schooling for certain children,
etc. Maurice Godelier was a directeur scientihque
at the Centre National de la Recherche Scientihque,
scientihc director of the Muse du Quai Branly and
full professor at the cole des Hautes tudes en
Sciences Sociales. Since 2002 he has been
co-directing the Non-European Components of
European Patrimony section of the European
Heritage On Line project (Echo). In addition to his
approximately 200 articles, published in various
French and foreign academic journals, his recent
bibliography includes La Production des grands
hommes: pouvoirs et domination masculine chez
les Baruya de Nouvelle-Guine (Paris: Fayard,
J982); LIdel et le Matriel (Paris: Fayard, J984);
Transitions et subordinations au capitalisme (Paris:
ditions de la Maison des Sciences de lHomme,
J99J); Meurtre du Pre, sacrihce de la sexualit.
Approches anthropologiques et psychanalytiques
(Paris: ditions Arcanes, J996); Lnigme du Don
(Paris: Fayard, J996) translated into English as
The Enigma of the Gift (Chicago/Cambridge: The
University of Chicago Press/Polity Press, J998) and
Spanish, German, Japanese, Greek and Arabic;
Mtamorphoses de la parent (Paris: Fayard,
2004), and Au fondement des socits humaines:
ce que nous apprend lanthropologie (Paris: Albin
Michel, 2007) and Les Tribus dans lHistoire et face
aux tats (Paris: CNRS Editions, 20J0).
Danile Hibon
Theoretical Study Department / Cinema
After studies in the classics, philosophy and history
of art, Danile Hibon took charge of the pre-hnancing
ofhce at the Centre National de la Cinmatographie;
she then joined the Galerie Nationale du Jeu de
Paume, where, since J99J, she has been in charge
of installations for such hlmmakers as Raoul
Ruiz and Chantal Akerman. She has also been in
charge of hlm programming, organizing the hrst
retrospectives of hlms by Jonas Mekas, Pelechian,
Carmelo Bene, Yoko Ono, Rebecca Horn, Atom
Egoyan, Johan van der Keuken, Ritwik Ghatak,
Sokurov, Naomi Kawase and Gianikian. She meets
regularly with contemporary choreographers in
connection with hlms about them, including, most
recently, Lucinda Childs, Angelin Preljocaj and Boris
Charmatz. Danile Hibon was appointed to the jury
that awarded the Prix de Rome 2008-2009 and is a
member of the Commission Image/Mouvement of
the Centre National des Arts Plastiques.
Since J996 Danile Hibon has headed the hlm
screening and lecture program for cole Nationale
Suprieure des Beaux-Arts and ENSAD (cole
Nationale Suprieure des Arts Dcoratifs) students.
An integral part of her three-way approach to
hlm-historical, thematic, and interactive-is visits
from hlmmakers whose works have recently been
shown or are currently being shown in theaters
or at international festivals, among them Chantal
Akerman, Olivier Assayas, Agns Varda, Jean-Paul
Civeyrac, Arnaud des Pallires, Mathieu Amalric,
Vincent Dieutre, Shinji Aoyama, Harun Farocki,
Robert Cahen, Nurit Aviv, James Benning and
Vittorio De Seta.
Gilgian Gelzer
Drawing section / Grey matter Life line
Drawing as an attitude. An experimental approach
to drawing in its many veins, moods, ways of
proceeding, that will foster open-ended yet well-
considered research based on questions raised by
the very act of drawing. Drawing is envisioned here
as its own language, and developed in the course
of committed, mobile practice, so that it may
become a real tool of visual exploration and an
autonomous mode of self-expression, thereby
liberating graphic energy.
Gilgian Gelzer was born in J95J in Bern, Switzerland.
After ten years in Latin America and New York, he
came to Paris where he now lives and works.
Following studies at the cole Nationale Suprieure
des Beaux-Arts of Paris and the Institut dArt et
dArchologie, Gelzer developed his artistic practice
in the helds of drawing, painting and photography,
observing correspondances between these languages
and their specihc material, spatial and temporal
properties. He probes the notions of hguration and
abstraction, attending in particular to how space is
dehned and forms inscribed in it, and the various
physical and psychic phenomena that determine
our perception of forms. Studio work is echoed in
feeting mural drawing, in direct dialogue with the
exhibition space.
Gelzer taught painting and drawing at the cole
Suprieure des Arts and Mdias of Caen from J987
to 2009; he joined the faculty of the cole des
Beaux-Arts in 20J0.
Recent solo shows: FRAC, Auvergne (2004); CRAC
Le J9, Montbliard (2005); Muse de lAbbaye
Sainte-Croix, Sables dOlonne (2005); Ludwig
Museum, Coblenz (2006), Galerie Bernard Jordan,
Paris (2008) and Zurich (2009). Latest in-situ
interventions: Galerie rue Montgrand, Marseille
(2005); Sainte-Trphine chapel, Pontivy (2008-
2009); Lennon Weinberg Gallery, New York (2009);
Kunstraum, Kreuzlingen, Switzerland (20J0).
160 Faculty Prohles
Bernard Moninot
Drawing Section /Drawing as designing -
States of forms
Bernard Moninots J970s drawings and paintings
resulted from a combination of elements characte-
rized by different degrees of reality. His objective,
photorealist painting was combined with glass,
mirrors and real objects. These "display windows,
a complex setup due to the transparency and
refections, create a kind of mise-en-abime of the
act of representation and probe the principles of
perception as they encompass the viewer. These
works were presented at the Biennale de Paris in
J97J and J973, at the Muse dArt Moderne, Saint-
tienne, in J974, at the Documenta, Kassel, in
J977, the Fondation Maeght in J979 and the ARC
in J980. In the J980s drawing became his unique
medium, the subject and object themselves of his
explorations. Renouncing traditional materials,
he uses instead a variety of phenomena-light,
shadow, water, sound waves and, most recently,
wind-to invent new ways of bringing drawings
and shapes into perceptible being (rather than
conceiving and designing them). With glass and
transparency, as well as a developed analysis of
light projection, Moninot captures many shadows
and natural phenomena. His current experimental
drawing art hlls space with an entire "phantasma-
goria of abstract, impalpable beings.
The artist showed at the Galerie Nationale du Jeu
de Paume, Paris, in J997; the Fruit Market Gal-
lery, Edinburgh, in J998; the National Gallery of
Modern Art, Delhi, and in Bombay in 200J.
His works may be seen in numerous public
collections, including the Museum Boymans,
Rotterdam; the Centre Pompidou, Paris; FRAC
Picardie; Mac/Val, Vitry-sur-Seine; and the Menil
Foundation, Houston.
Exhibitions in 20J0: la mmoire du vent, MAC/
VAL; Listen to your eyes, FRAC Lorraine, Metz;
Muse de Besanon; Muse de Dole; Drawing
times, Muse de Nancy; Peter Stmpfi Founda-
tion, Sitges. Created Silent listen for the exhibition
Diaphanes in the Tanneries, Amilly; Salon du Des-
sin Contemporain with the Galerie Catherine Put-
man, and curated the exhibition Lignes de chance
at the Fondation Entreprise Ricard. In 20J0 a
monograph on Moninots work by the writer Jean-
Christophe Bailly was published by the Editions
Andr Dimanche.
From J983 to 2006 he taught successively at
ENBA, Bourges; ERBA, Angers; ERBAN Nantes. He
has been a professor at the cole since 2006.
Site: www.bernardmoninot.com
Faculty Prohles 161
Daniel Leclercq
Technical Skills Department / Modeling
Born in J946, Daniel Leclercq has been teaching
at the cole since J98J. He is also a professor
at the Institut dArts Visuels in Orlans, where
he teaches modeling, molding and casting. He
has collaborated on the enlarging and mounting
of monumental sculptures (concrete, copper,
corten steel, stainless steel) with the sculptors
Erwin Patka, Aristide Zendy, Andr Bordes, and
executed sculptures commissioned by the towns
of Orlans, Amboise, Marcilly-en-Villette and
Savigny-sur-Orge. In 2002 he installed a sculpture
entitled Gisant in the Campo Santo of Orlans.
In 2003 he took part in two collective exhibitions
in Chaumont-sur-Marne and one in Condom in
2005. In 2006 he installed an in situ work, Le Parc
jou, on a fence surrounding a tennis court.
In 2007: exhibitions of painting and sculpture,
hgure-hguration-transhguration, at the Mdiathque
of Meung-sur-Loire and the Espace Georges Sand
at Chcy, where he was guest of honor.
In 2009 Leclercq did a bronze bust of Calvin for
the Faculty of Presbyterian Theology, Seoul; then
a 2.2 meter-high statue of Calvin in bronze for the
Place Saint-Pierre Empont in Orlans.
Franois-Ren Martin
General art history
Franois-Ren Martin was born in J965 in Colmar;
he studied political science at the Institut dtudes
Politiques and the Universit Robert Schuman,
both in Strasbourg, and history of art and
archeology at the Universit Marc Bloch, also in
Strasbourg. He holds PhDs in political science and
art history, and before turning to historiography
he inquired into the problem of analyzing ideology
and cultural policy. His doctoral thesis in art
history, supervised by Roland Recht and entitled
Grnewald et ses critiques: problmes dhistoire
de lhistoire de lart (XVI
e
-XXI
e
sicles), is due
to be published soon. Formerly in residence at
the Institut National de lHistoire de lArt (INHA)
(200J-2005), he served as professor and
research advisor at the cole du Louvre before
coming to teach at the cole in 2007. He taught
political science and later history of modern and
contemporary art at the universities of Strasbourg,
La Rochelle, Tours, Lyon and Paris X-Nanterre. In
2006 he taught a series of courses on nineteenth-
century French painting at the Central Academy
of Fine Arts, Beijing. Martin is a member of the
young INTRU team (Universit Franois-Rabelais,
Tours) and has ties to ITEM (CNRS-Ecole Normale
Suprieure) and the Ecole de Printemps network,
which encompasses graduate programs of several
European and American universities. He is also on
the editorial board of the journals Perspectives
and Studiolo and the Dictionnaire des historiens
de lart actifs en France de la Rvolution jusqu
1920 (INHA). Franois-Ren Martin has published
numerous studies on the historiography of
primitives and the history of art history methods.
His works include Primitifs franais: Dcouvertes
et redcouvertes, with Dominique Thibaut and
Philippe Lorentz (Paris: Muse du Louvre, 2004);
Histoire de lhistoire de lart en France au XIX
e

sicle, co-edited with Roland Recht, Philippe
Snchal and Claire Barbillon (Paris: Collge de
France/INHA La Documentation franaise, 2008);
and Un rseau europen de lart au XVIII
e
sicle:
Johann Georg Wille (1715-1808) et son milieu,
co-edited with Michel Espagne and lisabeth
Dcultot (Paris: cole Normale Suprieure, cole
du Louvre, 2009). He is currently working on
the issue of theory migration in art history and
paradoxical hgures of the artists fame.
Tadashi Kawamata
"In this studio, the basic method will be to develop
the work of art as a project. The process of pro-
ducing the work from beginning to end will be the
basis of the work project, and the entire concrete
work process will be a project.
Here the word `project refers back to the origi-
nal meaning of the word `projection; i.e., the idea
of transferring something into the outside, into
societies. The work of art is to be put out into
society.
Students will need to construct a scientihc rather
than emotional expression. This means they will
have to do detailed research in society to develop
new works of art. Personal computers prove an
important work tool in this respect. Furthermore,
by engaging in held work similar to that done in
anthropology or sociology, students will try to
understand a real situation in a given site. They
will carry out held work in connection with a global
network. This will be our `contemporary art acti-
vist mode of working. A laptop computer and a
sleeping bag become symbolic necessities in that
they are tools that enable students to do research,
communicate, and produce works of art.
Born in J953 in Hokkaido, Japan, Tadashi Kawa-
mata currently lives and works in Paris. In J984
he obtained his doctoral degree at the Tokyo Uni-
versity of Fine Arts and Music. From J999 to 2005
he was professor at Tokyo University, and from
2002 to 2005 he sat on the programming advi-
sory committee for the Japanese television station
Space Shower TV. In 2005 he also was in charge
of the Yokohama Triennial.
Since J977, he has taken part in many projects
and exhibitions throughout the world, including the
Venice Biennale (J982), Documenta 8 (J987), the
So Paolo Biennial (J987), Documenta 9 (J992),
the Biennale de Lyon (J993), the Mnster Skulptur
Projekte (J997), the Sydney Biennial (J998), the
Echigo-Tsumari Art Triennial (2000), the biennials
of Shanghai (2002), Busan (2002) and Valencia
(2003), Estuary, Nantes (2007-2009), an exhibi-
tion at the Museum of Contemporary Art, Tokyo
(2008), Saint-Thlo in Brittany (2004-2006) and
the Centre Pompidou, Paris (20J0).
www.tk-onthetable.com
162 Faculty Prohles
Bernard Piffaretti
Bernard Piffaretti has been enacting the same
procedure since J984: each work, whatever its
"manner of execution, explores and examines
concepts that painting elicits.
Born in J955 in Saint-tienne, Bernard Piffaretti
lives and works in Paris; he has been teaching at
the cole since J994.
Since J980 he has had a number of individual
shows in galleries and museums in France and
abroad and has taken part in numerous collective
exhibitions.
In 2006 he took part in several collective shows,
including at the Galerie Nathalie Obadia, Paris;
the Chteau de Tanlay; the FRAC Languedoc-
Roussillon; as well as in La Force de lArt at the
Grand Palais, Paris. The Galerie Beaumont public
held a one-man show of his work.
In 2007 he took part in the hommage to Jean
Fournier at the Muse Fabre, Montpellier, and had
two personal shows: the Center dArt Contem-
porain, Ste, and MAMCO, Geneva, offered him
the opportunity to show a wide range of his work.
In 2008 he had solo shows at the Muse Matisse
in Cateau-Cambrsis and the Nicolas Krupp gal-
lery in Basel. In 2009 his paintings were inclu-
ded in the exhibition Considrations inactuelles at
the Domaine de Kerguhennec; the Muse dArt
Moderne of Saint-tienne is holding a one-man
show entitled On inachve bien les tableaux. In
20J0 his work was presented at the Portique, Le
Havre, at the Miquel Alsueta Gallery in Barcelona,
the CHIEM and READ Gallery in New York, and the
FRAC, Haute-Normandie.
In 2008 the Presses du Rel and the MAMCO in
Geneva published an anthology entitled Si vous
avez manqu la premire partie ... -, Fortune cri-
tique, crits et entretiens 1982-2007.
Faculty Prohles 163
Marc Pataut
Co-teaches with Patrick Faigenbaum
"The possibilities of photography are at once pic-
torial and narrative. Students can learn to produce
images and to tell stories visually. This lear-
ning process takes place on three levels: shoo-
ting techniques; selecting and putting together
the images; fashioning the hnished product and
printing techniques. Then there is the idea of the
project, which includes both the shooting and the
concrete realization of the images, giving the work
evolving continuity. This is where the studio dyna-
mic of teamwork becomes effective, where indi-
vidual pursuits intersect with a common interest.
It is in this group dynamic that the differences of
approach that have brought us (Patrick Faigen-
baum and me) together over the years can serve
as an example for students.
Born in J952 in Paris, Marc Pataut has been tea-
ching at the cole since 200J. After studying at
the cole with the sculptor tienne Martin, he tau-
ght drawing and began to practice photography.
In J98J he began developing documentary inves-
tigation projects. His work has always combined
a particular area of activity, a social situation, a
story and a move to act in an institutional context.
His experience as a half-time student nurse in the
outpatient childrens hospital of Aubervilliers has
proved crucial to his art-making as a whole.
J990 was also the beginning of an investigation
into the portrait, which in J992 gave rise to Aulnay-
sous-quoi?, a study of memory of hve students at
the Lyce Buffon in Paris executed in J943. He
then began working with young people in Saint-
Denis, an "Emmas community in Alsace, and
the inhabitants of Cornillon, a vacant lot on land
in Saint-Denis where the future Stade de France
stadium was to be built (J994-J996). In J996-
J997 he created Photographes de La Rue with
vendors of the newspaper La Rue. From J998 to
200J he worked in Sallaumines in the Nord-Pas-
de-Calais on the notion and reality of the wound.
He worked in residence at Tulle with the group
Peuple et Culture, organizing several exhibitions
in Corrze.
In 200J-2004, for the association Sol en si /
Marseille, he made a hlm entitled Les enfants ont
des oreilles (58 mn.), awarded a prize at Marseilles
Festival International du Documentaire.
In 2006 he took part in the exhibition Prsences
contemporaines 2, Nice, and in 2007 in Bidon-
villes (Conseil Gnral de la Seine-Saint-Denis)
and Marseille Artistes Associs 1977-2007, Muse
dArt Contemporain Mac, Marseille.
In late 2008, ditions Panama published Toujours
ou jamais, a book that developed out of some of
Patauts photography work.
Giuseppe Penone
"My purpose is to help students identify and
exalt their individuality in art by using materials,
analyzing their motivations, and discussing their
work while being conscious of the poetic and
expressive qualities inherent in each technique.
Born in J947 in Garessio, Italy, Giuseppe Penone
has been teaching at the cole since J997.
Alfred Pacquement writes of the artist: "A major
hgure on the Italian scene of the J970s, he is
an indefatigable experimenter who exposes the
surfaces of the elements and goes for the skin of
things. The tree sees the mystery of its growth
divulged, while the artists action on the materials
he explores leaves all sorts of traces and imprints.
`Touching, understanding a form, an object, is like
covering it with imprints, the artist writes. At the
heart of his work is the impact of such touching
and seeing (eye, hand and hnger are recurrent
motifs) or the effects of breath emerging from the
lungs, which engenders a new and original form.
Man is as at one with nature as in the myth of
Daphne, the nymph transformed into a laurel. In
a novel and vibrant synthesis, Penone associates
elements drawn from nature with fragments of
human bodies. An eyelid blown up to inordinate
dimensions or the impression of a phalanx become
pretexts for graphic formulae that invade space. A
hngernail is presented in Gargantuan proportions,
or its imprint repeated over and over until it covers
an entire wall. Marble, like the trunk of a tree,
reveals the anatomy of its sinuous veins, while
elsewhere the brain discloses a landscape. Each
of these visual propositions holds its mystery, as
revealed by the artist.
In 2000 the Beaux-Arts de Paris les ditions
published Penones Respirer lombre, republished
in 2004 and 2009. Recent exhibitions: in 2007
Penone represented Italy in the Italian pavilion of
the Venice Biennale, and in 2008 an exhibition of
his work was held at the Villa Mdicis in Rome.
In May 2009, on the occasion of the reopening of
the coles Cour Vitre, Giuseppe Penones work
Matrice de Sve was exhibited in the Cour.
Exhibitions in 20J0 at the De Pont Foundation,
Tilburg, The Netherlands and the MAC-Grand-
Hornu, Belgium. At the request of Carolyn Christov-
Bakargiev and in anticipation of Documenta J3 in
20J2, a monumental work in bronze was installed
in June of this year in the garden in front of the
Fridericianum Museum in Kassel.
The MAMAC in Nice will hold a retrospective show
in early 20JJ.
Guillaume Paris
H.U.M.A.N.W.O.R.L.D is a project that brings
together the various thematic concerns-ideology
and the construction of identity, reihcation and
fetishism-that Guillaume Pariss work has been
exploring in the last twenty years. It involves the
use of a multitude of media and a transdiscipli-
nary approach oriented toward collaborative work
with interlocutors in different disciplines. Initially
drawn to cinema and conceptual art, Paris worked
on ethnographic documentaries and experimental
cinema before moving toward the visual arts. His
turn to new technologies was motivated as much
by conceptual as practical considerations. In
Pariss studio, students engage in critical analysis
of the discourse and ideologies accompanying dif-
ferent media, with a view to acquiring an unders-
tanding of the issues involved in terms of new
economic and social realities. "I favor an analytic
approach based on theoretical discussions and
group critiques of students work, with students
actively participating in the process of interpre-
tation and debate. It seems to me that the most
valuable aspect of art school for a student is the
community of his or her peers. The point is not
so much to suggest solutions as to ask the right
questions-and make sure students come around
to asking them themselves in the course of their
own work. This analytic approach will go together
with critical reading of texts renowned for their
crucial role in developing thought on art throu-
ghout the 20th century and up until today.
Born in J966, Guillaume Paris studied at Cooper
Union in New York and the Institut des Hautes
tudes en Arts Plastiques in Paris, while doing
doctoral studies in ethnology at the University
College of London and studying engineering. He
then stayed at the Rijksakademie of Amsterdam.
In J997-J998 he was at the Villa Mdicis in
Rome. He has had several solo shows in France
(Galerie Ghislaine Hussenot; Muse dArt Moderne
et Contemporain, Strasbourg; Palais de Tokyo;
Galerie Nelson) and abroad: London, New York,
Amsterdam, Turin, Prague, Quebec, Sharjah, and
Milan.
Since 2000, Guillaume Paris has lectured at many
art schools in France and abroad (Beijing, Tokyo,
Helsinki, Utrecht, London, Taipei).
Recent publications: Guillaume Paris/Mixed
Blessings (2002), Kids (2004), H.U.M.A.N.W.O.R.L.D.
expliqu aux enfants (2005).
164 Faculty Prohles
Philippe Renault
Moldmaking and casting
Born in J96J, Philippe Renault has been teaching
at the cole since J997. He was initiated early
in life into the art of molding and casting by
his father, with whom he worked from J978 to
J987. In this capacity he realized works for the
Muse Bourdelle and the Assemble Nationale; he
cast many of the saints and kings in the Reims
Cathedral for the French Department of Historical
Monuments, and has assisted such sculptors as
Volti, tienne Martin, Poirier, G. Oudot and others.
Working on his own since J988, he has casted for
the Fondation Dina Vierni and the Muse Maillol,
the Muse Bourdelle, the studio and Muse Volti.
In J998 for the Petit Palais he cast Bernard
Palissy by Barrias; in 2002 at the cole he cast
Lorenzo Ghibertis Gate of Paradise; in 2003 he
cast Francesco Bordonis Angel of Fortune for
the cole des Beaux-Arts main courtyard and in
2004 Franois Anguiers helmeted Minerve for
the Muse de lle-de-France; in 2005 he cast
sculptures for the Muses dArt et dHistoire of
Geneva, in 2006 for the Muse de lHistoire de la
Ville, Luxembourg, in 2009 for the Muse du Quai
Branly, Paris (exhibition Fabriques des images), in
20J0 for the Cit des Sciences et de lIndustrie,
Paris (exhibition Contrefaon).
While working with a number of different artists,
he has also cast and done restoration work for his-
toric monument buildings in Paris: the Axa head
ofhce, avenue Matignon; the Crdit Lyonnais head
ofhce, Boulevard des Italiens; the Htel de Lague
for the David-Weill family; the Plaza Athne; the
Ambroisie restaurant and others. He is currently
working on ceramic compositions that stage the
animal and vegetal world, a response to the work
of Bernard Palissy.
Faculty Prohles 165
ric Poitevin
"The power of images-always. To take apart
the ones that attract and fascinate us, the same
way a mechanic takes apart an engine, so as
to better invent and construct our own. To feel
our photographic loves, rehne our difference,
the distance at which we stand. The history of
photography as a founding; contemporary art as
a landscape and we the gardeners.
Born in J96J in Longuyon (dpartement 54),
ric Poitevin lives and works not far from there,
in Mangiennes, a village in the Meuse. He
began photography at the age of JJ, continued
practicing in unpredictable fashion (neighbor friend
pharmacist amateur photographer photo-club)
and ultimately came to study at the cole dArt of
Metz (J980 to J985), the only art school to offer a
specialization in photography at the time.
The winds of the J980s proved favorable for
photography. J. F. Dumont in Bordeaux was
the hrst gallery he showed in (J990), followed
by Pietro Sparta in Chagny (J995) and Albert
Baronian in Brussels, these being the galleries he
is closest to and which have had the most decisive
effect on the development of his work. He now
shows also at the Galerie Blancpain in Geneva and
at Nelson/Freeman in Paris for other projects.
ric Poitevin stayed at the Villa Medicis in
Rome in J990 and was visting artist at Fresnoy
in 2000. From 2000 to the end of 2007 he
taught photography, hrst at the cole des Arts
Dcoratifs in Strasbourg, then in Nancy with the
communications department team headed by
Christian Debize.
His most important one-man shows include:J998
at the Centre National de la Photographie, Paris,
on a proposal by Rgis Durand; 2000 at the
MAMCO, Geneva, on a proposal by Christian
Bernard; 2004 at Le Plateau, Paris, on a proposal
by ric Corne; and 2007 at the Maison de la
Chasse et de la Nature, Paris, on a proposal by
Claude dAnthenaise.
In 20J0 ric Poitevin took part in Chefs-duvre?,
Centre Pompidou, Metz; Le carillon de Big Ben,
Le CREDAC, Ivry-sur-Seine; Dans la Fort, FRAC
Aquitaine, Bordeaux; Le meilleur des Mondes, du
point de vue de la collection MUDAM, Luxembourg;
Juliette Losq / Darren Norman / Eric Poitevin,
Theodore Art, New York.
His works have been acquired for many public
collections: Muse dArt Moderne de la Ville de
Paris; Centre Pompidou-Muse National dArt
Moderne, Paris; Maison Europenne de la Photo-
graphie, Paris; FRAC Franche-Comt; FRAC Rhne-
Alpes; FRAC Lorraine; FRAC Midi-Pyrnes; FRAC
Languedoc-Roussillon; FRAC Pays-de-Loire; FRAC
le-de-France; MAMCO, Geneva; Muse de la
Photographie de Charleroi, Belgium; and MUDAM,
Luxembourg.
Patrick Raynaud
Programme La Seine
Graduate of the IDHEC (now the FEMIS). Worked
for a time in hlm (J970-J977), hrst as assistant,
then as sound editor, then head editor. Worked on
Jacques Tatis Trahc and for Jean-Pierre Melville.
Directed short and medium-length hlms, namely
on Sonia and Robert Delaunay.
Professor at the cole des Beaux-Arts de Lyon
(J983-J989)
Director of the graduate program at the Universit
de Nantes (J994-J996); Professor at the cole
Nationale des Beaux-Arts de Dijon (J996-J997);
Director of the cole Rgionale des Beaux-Arts de
Nantes (J997-J999); Director of the cole Natio-
nale Suprieure dArts de Cergy (J999-2002);
Director of the cole Nationale Suprieure des
Arts Dcoratifs, Paris (2002-2008).
Has had over 200 solo exhibitions since J977,
including at the Fondation Gulbenkian, Lisbon;
the Muse des Beaux-Arts de Rennes (J982);
the Ludwig Museum, Aix-la-Chapelle (J988), the
National Art Museum, Vienna (J993), the Tel Aviv
Museum (2002).
Has taken part in over 300 group exhibitions
throughout the world.
Several permanent artworks in public places: City
of Hamburg, universities of Pforzheim (Germany)
and Bursa (Turkey), the European Cultural Centre
in Delphi, the Tel Hai Museum (Israel), the City
of Paris, etc.
Abraham Pincas
Painting techniques
Abraham Pincas is an artist, researcher and
professor of painting techniques at the cole
Nationale Suprieure des Beaux-Arts of Paris. In
the course of his travels in Asia, Europe, the US
and the Middle East, and throughout his lectures
and teaching, he has explored and created a body
of theme-based work: mirrors and refection, a
whales eye, windows and screens, Golem-Tselem,
the duality principle, springs and clouds, twenty-
two ideograms, Touch of Mandela, coats of light
and coats of skin, birds taking fight.
The principles guiding his work are light and
shadow, the opaque, translucid and transparent,
refection, transmission and absorption, the
formal and informal, lingering vision, passive and
active states, the permanent and the transitory,
separation and passage, the limited and unlimited,
hnite and inhnite, visible and invisible. The colors,
forms and materials reveal a formal and informal
poetic world: human, vegetal, animal, mineral, hre,
air, water, earth. Natural forms and elementary
structures contained in "support-foundations
are preserved or effaced (stains, hbers, imprints,
textures, colors on papers, parchments, papyrus,
fabrics, barks, canvas, snake and lizard skins,
felt and silk). Impregnation processes are used
in certain works; the support-foundation is
penetrated with pigments and dyes.
In Abraham Pincas work, close, deep relations
develop between principles, the senses, sensa-
tions and acts. The paintings are animated by
the presence of the concealed and fantastic. That
which is concealed cannot become an object of
study and the fantastic cannot be the subject of
investigation; their presence alone can touch us.
In 2009 he showed at the Centre Culturel Bulgare
in Paris on the theme of trees and birds, and in
20J0 at the Galerie 89/Viaduc des Arts on the
theme of birds taking fight from the nest. In 20JJ
he will be exhibiting at the gallery of the Bulgarian
Ministry of Culture, Sophia.
Abraham Pincas has published Recettes de
peinture: Techniques de la peinture et du dessin
(with a DVD) (ditions Beaux-Arts de Paris
and Marin Beaux-Arts); La source et le nuage:
Processus et techniques de cration (ditions
Erec, 2002); Le lustre de la main: esprit, matire
et techniques de la peinture (Editions Erec and
Beaux-Arts, J99J) and Manteaux de lumire,
manteaux de peau (Beaux-Arts de Paris les ditions
and A. Pincas, 2006).
166 Faculty Prohles
Gilles Rousvoal
Stained glass
"The term stained-glass work should be understood
to include all use of natural light to illuminate the
interior of an architectural space. If the domain of
the visual arts is light, stained glass takes a special
approach to that domain: backlighting.
Born in J948, Gilles Rousvoal has been teaching
stained-glass techniques at the cole since J986.
He has designed and made stained-glass windows
for a number of edihces-the churches of Roche-
le-Peyroux (J995), Lestard (J996), Saint-Aspais,
Melun (J996-J997), Puiseaux (J997) and the
Coutances Cathedral (J995-J997)-and taken part
in group shows of stained glass: Des vitraux et des
peintres, Malakoff (J994); SAD, Beirut, Lebanon
(J995); Lumire en patrimoine, Centre International
du Vitrail, Chartres (J996). He lectures at various
institutions (cole du patrimoine, summer school
program at the Centre International du Vitrail in
Chartres) and has served as a consultant to the
Ateliers Duchemin for the production of stained-
glass works by Alberola, Marc-Camille Chaimowicz,
Aurlie Nemours, David Rabinovitch, Sarkis,
Robert Morris, Carole Benzakem, Christophe Cuzin,
Genevive Asse, Olivier Debr, Stphane Belzre,
Bernard Piffaretti, and Monique Feydman, among
others.
Faculty Prohles 167
Vincent Rioux
Digital Technologies Section
Born in J97J, Vincent Rioux trained in engineering
and later took a Masters degree in computer
music/computer assisted music composition; he
then did a PhD in musical acoustics in Gteborg,
Sweden.
Fascinated by the implications of the digital
revolution for art, Vincent Rioux uses digital
calculators as a means of connecting domains that
at hrst glance seem heterogeneous: photography,
synthetic images, video, algorithmics, interactivity,
man/machine interfacing, sound, installations,
performance art, dance, music and theater. He
has developed an intermedia approach whose
common denominator is digitization.
Keenly interested in sound color and texture
(timbre), he applied certain of his ideas in the
area of musical sound at IRCAM from 200J to
2003 while refecting on the problem of texually
annotating audiovisual recordings. His interest in
combining images (still or animated) and sound
recording then led him to take charge of the Espace
Culture Multimdia component of the association
Confuences (Maison des Arts Urbains). His main
activities in this position were receiving artists-
in-residence active in the held of digital arts and
organizing practical and theoretical workshops
(sound slideshows, computer real-time). His
interest in combining various media has led him
to create POMs (Petits Objets Multimdia) for
internet.
Vincent Rioux has taken part in many art events,
exhibitions and installations, including Nuit
Blanche (2005 and 2009), Maison des Mtallos
(2008 and 2009), des auteurs, des cirques,
Festival de la Villette (2009), the Off-Limits
theater festival (2008), Festival VisionR (Mains
dCuvres, 2007), La Guillotine theater, Festival
Malaupixel (2007 and 2008), Festival Placard
(2005), Nuits Faites de la Lumire (Paris, 2005
and 2006). He has also been active at the Fresnoy,
IRCAM, ENSCI, and in international digital creation
symposiums at Wesleyan University (US) and the
University of Birmingham (UK).
Vincent Rioux has developed a teaching technique
centered on free programming environments
and languages (processing, blending, puredata,
supercollider, python, haskell and others) and
collaborates with artists in France and abroad.
Anne Rochette
"The work in this studio centers around sculpture,
installation, spatial relations and projections,
while leaving ample room for such practices as
drawing, photography and video, performance
and sound. Heterogenous practices are used and
forms experimented with as part of an ongoing
activity of questioning, interpreting and critical
distancing. The studio is at once a production site,
a space for enacting movements and applying
techniques, and a place in which discussion of all
types is at the core of teacher-student relations,
fueled by modern and contemporary history of
three-dimensional practices and the presence of
current world events.
Born in Oullins in J957, Anne Rochette has been
teaching at the cole since J993. From J982
to J990 she lived, studied and worked in New
York; she now lives and works in Paris. She had
her hrst solo show in New York, at the Pretto/
Berland/Hall Gallery, in J990; her most recent
was at the Centre Culturel Franais in Belgrade in
February 2008. She has created several works for
specihc public spaces: a project for the Jardin des
Tuileries commissioned by the Ministry of Culture
and Communication in 2000; for the site of the
Sources dIll in Winkel (DRAC Alsace and the
Conseil Gnral, 2003) and the sculpture park at
Australian National University, Canberra (2003). In
2004-2005 she designed and executed a sculpture
entitled Pierres galantes for the park of the former
Chteau de Dives, commissioned by the Ministry of
Culture and Communication and the Communaut
de Communes du Pays Noyonnais. In 2009 she
completed two projects: Grands et petits dbuts,
for the Centre Scolaire Nelson Mandela in Saint-
Ouen, and La grande rouge, a paling surrounding
the Henri Laborit student residence at Vitry-sur-
Seine. Her work is nourished by frequent travels,
exchanges, and productions abroad: India in
J989-J990 and again in J994-J995, Thailand in
J998, China in 200J and 2005, and Australia in
2002, 2003, 2005 and 20J0; Pakistan, Serbia and
Turkey in the framework of faculty exchanges in
2008, 2009 and 20J0.
James Rielly
"The studio is a very important place for
exchanging ideas and producing a great number
of diverse projects. Students need to be open to
the advantages and opportunities offered by this
studio and by the cole.
Born in J956 in Wales, James Reilly has been
a professor at the cole since 2006. He studied
at the Gloucester College of Art & Design,
Cheltenham, UK, and at the Belfast College of Art,
Belfast, Northern Ireland, UK. He was a fellow at
FAWC, USA, the Kunstlerhaus Bethanien, Berlin,
and the Tate Gallery, Liverpool. Rielly has a strong
connection to the French art world: his hrst one-
man show in a museum was in J997 at the Muse
des Beaux-Arts of Nantes. He has worked with the
Galerie Nathalie Obadia in Paris since J998.
"Rielly has been painting family portraits for the
past ten years now. The physical violence of those
hrst paintings based on forensic science has been
replaced by a more muted violence, which, though
less spectacular, is ruthlessly effective. The
ambiguity of the subjects is here accompanied by
psychological violence, emphasized by the artists
painting technique. The hgures pose in front of
a monochrome background, the scene bathed in
a gentle atmosphere of mainly pale tones and
pastels. They look like the sort of pictures you
might hang in a childs bedroom. But the paintings
are traps, like sweets offered by a stranger lurking
at the school gates. We would so much like to
taste that sweetness, but common sense tells
us we should run away. Attraction or repulsion?
The artist toys with our ability to decode and
leaves us trapped in a whirlwind of contradictory
interpretations of his making. (M. O. Wahler)
James Rielly is represented by galleries in London,
New York and Madrid. In 20J0 at the Wittenbrink
Gallery, Munich; in 2009 by the Imart Gallery,
Seoul. Among his recent exhibitions: 2009 at the
Studio dArte Raffaelli in Italy and the La Ramis
Barquet Gallery in New York; 2008 in England
at the Rabley Drawing Center, in Geneva at
the Charlotte Moser Gallery, and in Toulouse at
the Galerie Sollertis. Recent publications on his
work: James Rielly Watercolours, an essay by
Martin Herbert (2006); Life of Rielly, an essay by
M. O. Wahler (London: Timothy Taylor Gallery,
2005); Contre-Images, essays by Rgis Durand,
Franoise Cohen and Daniel Buren (Nmes: Carr
dArt, 2004).
168 Faculty Prohles
Valrie Sonnier
Drawing Section /
Morphology - Drawing "visits"
Born in J967, Valrie Sonnier lives and works
in Paris. She is a graduate of the cole Natio-
nale Suprieure des Beaux-Arts and received her
Licence degree in visual arts from the Universit
de Paris I-Sorbonne in J993. She has been tea-
ching drawing and morphology at the cole since
2003.
After taking seminars by Jeff Wall and Ken Lum
at the University of British Columbia, Vancouver,
she developed her own work using multimedia
practices, constructing connecting lines and paths
between media that relay and respond to each
other. She uses drawing, painting, photography
and Super 8 hlm to weave ties between private
personal memories and collective memory of
childhood and to explore the notions of presence,
absence, ghostly apparitions...
In J994 she showed at the Galerie Rizzo, then
took part in several collective exhibitions, inclu-
ding at the Espace Paul Ricard in Paris and Valleix
in New York. In J998 she had a one-woman show
at the Galerie dArt Contemporain of Auvers-sur-
Oise. In 2000 she founded the artists collective
"Bas ge, which brings together artists who put
childhood at the center of their work.
In 2006 she took part in the exhibition entitled Il
tait une fois Walt Disney at the Galeries Nationales
du Grand Palais, a show that moved in 2007 to the
Muse des Beaux-Arts of Montreal.
In 2006 she was active in organizing an exhibition
entitled La Fabrique du dessin at the cole
Nationale Suprieure des Beaux-Arts, as well as
Visites dessines at the Muse des Arts et Mtiers,
Paris.
Valrie Sonnier had a one-woman show at the
Galerie Popy Arvani in Paris in 2006. In 20J0 she
took part in the exhibition La main numrique at
the Maison dArt Bernard Anthonioz, Nogent-sur-
Marne, then at the National Fine Arts Museum of
Taiwan.
Faculty Prohles 169
Emmanuel Saulnier
My studio explores current means for making
sculpture today and the diversity of possible
arrangements. How to move from experimentation
to a deeper understanding, to further develop
ones project? How to bring the project into visible
being? How to give it form and meaning? What place
should it occupy? The studio is run in conjunction
with the technical workshops and other studios
concerned with treating volume; also with photo,
video, and sound studios. Other French and foreign
artist-professors and student artists are regularly
invited to join in the discussion. Emphasis is on
exploration, and the studio is equally favorable
to experimentation and concentration on a single
idea or work. To work in it requires strength of will
and a capacity for refection that will enable each
student to formulate, substantiate and situate his
or her work.
Emmanuel Saulnier was born in J952 in Paris.
He has been teaching at the cole since 2002.
He has been showing his work in Europe and
throughout the world since J975. In J986, after
two years in Milan, he was artist-in-residence at
the Villa Mdicis in Rome. In J999 the ditions
du Regard published Principe transparent, the
hrst monograph on his work. He has done several
monumental works, including Rester Rsister in
Vassieux-en-Vercors; Fils deau in Rouen for the
Agence de lEau, executed by Nicolas Michelin;
and the composite sculpture Je vis de leau - Elle
scoule, a public commission for the central Nice
tramway station, designed by Marc Barani, which
received the Equerre dArgent prize for the year
2008.
In 2004-2005 he showed Place blanche - Place
noire at the Centre Pompidous Atelier Brancusi. In
2007 he was invited to take part in the exhibition
Correspondances at the Muse dOrsay. In 2008
he showed in the exhibition Traces du Sacr at the
Muse National dArt Moderne; in 2009 the Muse
des Beaux-Arts de Nancy acquired and exhibited a
work by him entitled Tte.
In 2009 he published Exprience chilienne, an
account of his stay in Chili and the work done and
shown with studio students there.
Several articles and other texts, hlms and videos
have been produced on Saulniers sculpture.
Didier Semin
History and theory of modern and
contemporary art /5
th
-year seminar
Born in J954, Didier Semin studied art history
at the Universit de Strasbourg. After taking
a Matrise degree, he served as exhibition
organizer for the Maison de la Culture of Saint-
tienne; then as curator at the Muse des Sables-
dOlonne, the Muse dArt Moderne de la Ville
de Paris, and lastly the Centre Pompidou-Muse
National dArt Moderne, where he was in charge
of the contemporary art collections until J998.
He has been teaching at the cole since J999.
Didier Semin has curated several monographic
and thematic exhibitions, including Gilles Aillaud
(at Saint-tienne), Jean-Luc Vilmouth, Robert
Combas, Alain Fleischer, Alberto Savinio, Glen
Baxter, Franois Dufrne (at the Muse de
lAbbaye Sainte-Croix des Sables-dOlonne),
Sophie Taeuber (at the Muse dArt Moderne de
la Ville de Paris), Martial Raysse (at the Galerie
Nationale du Jeu de Paume), Wolfgang Laib, Victor
Brauner (at the Centre Pompidou), Victor Brauner
ou lenchantement surraliste (at the Fondation
de lHermitage, Lausanne). He co-signed with
Georges Didi-Huberman the J997 exhibition at the
Centre Pompidou entitled LEmpreinte. He has also
written numerous articles and books, including
Boltanski (Paris: Art Press, J988); Victor Brauner
(Paris: Filipacchi/RMN, J990); LArte Povera
(Paris: ditions du Centre Pompidou, J992), Le
Peintre et son modle dpos (Geneva: MAMCO,
200J); Le Sablier de Penone (Caen: Lchoppe,
2005) and, in 2007, Grenouillages (Brissat, Goya,
Lavater), also published by Lchoppe. La Piste du
hrisson (Nmes: ditions Jacqueline Chambon,
2004) is a selection of articles written in the last
twenty years. Didier Semin co-directs with Alain
Bonfand the coles "crits dartistes series,
which recently published the writings of Franois
Dufrne, Jean Hlion and Franz Marc.
Michel Salsmann
These studio workshops have a dual purpose: to
impart know-how and develop an experimental
held combining art and printing. The course
combines technical instruction with a main studio
leading to the degree. This year will be particularly
focused on analysis of printing-related projects
involving computer image processing, the aim
being to prepare multilayer printing to be used
with traditional techniques or for digital printouts.
"Michel Salsmann has always been a tireless
surveyor of new lands. It is therefore not surprising
that his use of digital techniques eventually led
him beyond what had been their original function
in his work, that of a tool for handling questions
of hguration and the hgure. His works in progress
actually strike me as an exploration that directly
links up with the current debate over the question
of the image. In fact, Salsmann by no means
shares the notion that digitization is the ultimate
telos of the visual arts and that it will be called
upon to absorb all other visual practices. For him,
the digital domain is the place through which all
images can transit but which nonetheless has
its own specihcity-precisely that of transit. To
demonstrate this point, he only needs to reinsert
the digital codes into other output media: the
screen, the printer (the incredible Christlike face
of biface, photography, silkscreen printing). In a
word, far from lending any credence to the idea
that our age is one of generalized `derealization
and simulacrum, Salsmanns current work
substantiates a wholly different conviction: all
pictorial media have the same artistic dignity,
given the fact that each of them produces varieties
of art (and therefore reality) in its own different,
irreducible way. (J. M. Schaeffer, "Portrait de
M. S. : vers limage, Art Press 2J2,J996)
Born in J948 in Colmar, Michel Salsmann lives and
works in Paris; he has been teaching at the cole
since J993. From J980 to 2002 he also taught
in the visual arts department at the University
of Paris I-Sorbonne. In J978 he received a grant
to do lithography from the Institut de France; he
was in charge of the lithography studio at the
Cit Internationale des Arts de Paris from J980
to J984, then served as lecturing artist in the
educational service of the Muse National dArt
Moderne (J983-J993). In J995 he was awarded
the engraving prize at the Triennial in Soha. In
2006 he had a personal exhibition in the Galerie
Popy Arvani, Paris.
170 Faculty Prohles Faculty Prohles 171
Patrick Tosani
"Questioning the relationship and contiguity
between what one sees, the real space and the
space constructed by the photograph. Approaching
the real and bringing to the surface the abstrac-
tness of every image. Transforming observation of
the world and analysis of the real into `questions
that lead to developing a `translated space. Thin-
king of the image and its material presence as a
process of becoming. Photography- silverprint or
digital-is the main though not exclusive medium
in this approach and will be explored using extre-
mely diverse modes.
Born in J954, Patrick Tosani lives and works in
Paris. He has been teaching at the cole since
2004. He studied architecture in Paris from J973
to J979, graduating with a DESA degree (Diplme
dEnseignement Suprieur dArchitecture). He has
been doing photography since J976; questions
of space and scale are central in his work. The
photographic process, its potential and limits, the
question of the photographs relation to the real,
are issues that come up time and again in his
photo-series on objects, bodies, clothes.
Patrick Tosani regularly exhibits in France and
abroad, including at the ICA, London (J987), the
Magasin, Centre National dArt Contemporain in
Grenoble (J99J), the Art Institute of Chicago
(J992), the Arc Muse dArt Moderne de la Ville
de Paris (J993), the Palais des Beaux-Arts de
Charleroi (J994), the Folkwang Museum in Essen
(J997), Muse Nicphore Nipce in Chalon-sur-
Sane (J998), the Centre National de la Photogra-
phie, Paris (J998), the Rencontres dArles (200J).
In 20JJ he will be showing at the Maison Euro-
penne de la Photographie, Paris.
Among the many collective exhibitions he has
taken part in hgure Angles of vision: French art
today, Guggenheim Museum, New York (J986),
Une autre objectivit, Centre National des
Arts Plastiques, Paris (J988); Photokunst,
Staatsgalerie, Stuttgart (J989), Passions prives,
Muse dArt Moderne de la Ville de Paris (J996),
Warum!, Martin-Gropius-Bau, Berlin (2003),
Les peintres de la vie moderne, Centre Georges
Pompidou, Paris (2006) and Refexio - Limage
contemporaine en France, Santander Cultural,
Porto Alegre (2009).
Patrick Tosanis works hgure in a number of per-
manent public collections in France and abroad,
and he has executed public commissions in Metz,
Paris, Villeurbanne, and Beauvais.
For more information, see www.patricktosani.com
Djamel Tatah
"Students will develop their artistic projects by
constructing the conceptual and practical bases
needed to pursuing their experience and their
autonomy in relation to the contemporary artistic
creation context.
What does one choose to represent? Why and
how? These questions will structure both collective
thinking on the issues of pictorial representation
and individual thinking on how the student is
moving to develop his or her project.
Pictorial experiences in the studio will be nourished
by all possible drawing techniques-ranging
from observation to digital practices-and by
photography and video.
Regular visits to art exhibitions and regular
exchanges in the studio are aimed at constructing a
thoughtful general culture and developing curiosity
for art history and the history of forms and thought
in connection with students singular projects.
Born in J959 in Saint-Chamond (Loire), Djamel
Tatah lives and works in Paris. He has been
teaching at the cole since 2008. After studies at
the cole des Beaux-Arts of Saint-tienne (J98J-
J986), he developed a means of creating art that
is fueled by a combination of traditional pictorial
techniques (wax painting), photography and new
digital technologies.
At the core of his approach is an abstract
representation of human beings. The artist positions
real-size human hgures in fat, colored geometric
spaces. The hgures singular features have
been neutralized by a gradual dematerialization
process: photographic framing and shooting,
digitization, fragmentation, recomposition and
projection onto the canvas reduce them to the
state of marks and traces. At this point the artist
constructs colored spaces by means of layering,
into which he inserts the bodies, movements,
and positions of the hgures. Walkers, recumbent
hgures, "hittistes (from the Arabic for "wall; a
"hittiste is someone who "holds up the wall) and
others are motifs that reappear from one painting
to another, thereby constructing a staging of
contemporary life.
Djamel Tatah has presented his works in solo
shows in France and abroad, most recently at the
Muse des Beaux-Arts de Nantes (2008), MAMAC,
Nice (2009) and the Centre dArt Contemporain du
Creux de lEnfer (20J0).
Collective exhibitions he has taken part in
recently: Air de Paris at the Centre Pompidou,
Paris (2007); Spheres, at the Galleria Continua,
Le Moulin (2008-2009), and I Mutanti at the Villa
Mdicis (20J0).
Jean-Pierre Tanguy
Students primary aim in this studio is to learn
various techniques of engraving on such supports
as metals, wood and plastic. The training in che-
mical and technical methods proceeds in symbio-
sis with the development of students personal
artistic expression. Once the basic skills have
been acquired, "I try to get more directly involved
in the students creative endeavours by helping
them assert their personality and refect on their
work.
Jean-Pierre Tanguy, painter, engraver and
mosaicist, was born in Paris in J945. He holds
degrees from the cole dArt et de Dessin, the
cole des Arts Appliqus and the cole Nationale
Suprieure des Beaux-Arts. He has been teaching
engraving at the cole since J974. His work has
been shown in a number of different countries:
Italy, Germany, Canada, Egypt, Spain, the United
States, France, Laos, Malaysia, Morocco and
Turkey. Since J987 he has been regularly invited
by cultural centers, art schools and embassies to
organize seminars on engraving, run training and
practice studios and give lectures. He has taught
engraving in Venice, Vientiane (Laos), Kuala
Lumpur, Tetouan (Morocco), Istanbul. In Paris he
is represented by the galleries Lahune Brenner,
Martine Namy-Caulier; in Chicago by the Richard
Milliman Gallery; in Kuala Lumpur by the Citra
Gallery; in Madrid by the O Cuadros Gallery and
Lesdesma Edicions, and in Germany by Anilh Mull
Editions.
Born in Toulouse in J969, Paul Sztulman lives and
works in Paris. He earned a degree from the cole
Nationale Suprieure de la Photographie, Arles,
and in J992 became a lecturer at the Galerie
Nationale du Jeu de Paume in Paris. In J995
he joined the Documenta X team in Kassel and
participated in writing the exhibition guide. From
J998 to 2008 he taught art history at the Villa
Arson in Nice. Since 2008 he has been teaching at
the Ecole Nationale Suprieure des Arts Dcoratifs.
He has been in Tony Browns La Seine research
program since 2009.
Paul Sztulman has written a monograph on the
work of Suzanne Lafont (Hazan, J998) and has
done interviews with and written several essays
on contemporary artists, published either in
journals (those on Christian Milvanoff and John
Coplans) or catalogues (Djamel Tatah [RMN,
J996]; Jacques Julien [CNAP Villa Arson, J998],
Hugues Reip [Actes Sud, 2005] and Elise Florenty
[ESBAMA, 2009]).
He has contributed to the following monographic
studies: Ltrange cas de Madame Huillet et
Monsieur Straub, papers given at a seminar
on the works of Jean-Marie Straub and Daniele
Huillet, edited by Philippe Lafosse (Ombres, 2007),
and interviews with members of Sonic Youth for
the catalogue of the exhibition Sonic Youth etc.
Sensational Fix, preceded by his introductory text
(in collaboration with Christophe Wavelet) (Saint
Nazaire: Le LiFE, 2008).
Published talks: Muriel dAlain Resnais, un hlm
quon oublie (Stuttgart: Akademie Schloss
Solitude, 2004); Photognie (Infra-Mince,
ENSP, Actes Sud, 2005).
Unpublished talks on Marcel Broodthaers and
Joseph Beuys (2004); Abbas Kiarostami (2007);
Paul Thek (2009).
Has recently published critical analyses of the
notion of exhibition (MAY, 20J0) and changes in
the art scene in the J990s (Critique, 20J0).
Paul Sztulman
La Seine research program
172 Faculty Prohles 173
Jean-Luc Vilmouth
"The energy fueling this laboratory-studio comes
of a desire for interdisciplinarity, broad artistic
experience, a striving to extend the range of
artistic practice through intersections and
divergences, hybridization and contagion. The
course will be divided between regular seminars
with the studio professor and workshops with
visiting artists or architects. Group projects will be
initiated in collaboration with contemporary art
professionals. These encounters aimed to bring
into play the theoretical and practical aspects and
issues raised by each project, either individual or
collective, and expand the scope of students
thinking and artistic activity. The idea is to
integrate creative stimuli from other helds-the
natural sciences and humanities, architecture,
urban planning-and in so doing to rethink our
relation to the work of art.
Born in J952 in Creutzwald, Jean-Luc Vilmouth
lives and works in Paris. He has been teaching at
the cole since J996. After studying at the Beaux-
Arts in Metz, he continued his studies through
J979 at the Royal College of Art in London, where
he met Tony Cragg and Bill Woodrow. When the
media began focusing on an emerging new
movement in English sculpture, Vilmouth returned
to France, thus asserting his independence.
Having begun with minimalist and process art, he
gradually turned to sculpture. The often
commonplace objects in his works are transformed,
divorced from their functional uses, and come to
hnd different meaning in their new setting by
becoming signs or representations. Vilmouth
prefers to dehne himself as an "augmentateur
rather than a sculptor, a neologism borrowed from
the critic Roger Caillois: the meaning of the
manufactured and preexistent object that is the
point of departure undergoes "augmentation.
Jean-Luc Vilmouth has been exhibiting since J977
in Europe, the US and Japan at a number of
galleries and institutions and taking part in several
international events. He has executed numerous
public commissions, including Channel Fish for
Waterloo International Station, London, and
Comme Deux Tours, Chtellerault (J994); The
World Wheel in Paris (2000); Le Caf Refets, rue
Montorgueil, Paris (2003). In 2006 he took part in
Le Bar des Plantes, Strasbourg, and La Force de
lArt, Grand Palais, Paris. In 2007 he had a solo
show at Annemasse and another, Splash, in
Bangkok. In 2008 he took part in Autour dun
arbre, a collective exhibition in the Chteau de
Carcassonne, and Kyoto Art Walk at the Kiyomizu-
dera Temple in Kyoto. In 2009 he showed at the
Niigata Triennial.
Fabrice Vannier
Technical Skills Department / Mosaics
"This studio, a place of initiation, practice and
experimentation, is open to all the types of
cooperation that can be developed with the
coles various sections and departments. It offers
a wide spectrum of the possibilities of mosaics in
connection with the two native tendencies of this
pratice, one linked to painting, the other to an
anti-pictorial approach.
Mosaics, a cladding for discontinuous and in some
cases heterogeneous elements, an enduring
"dermis made of noble or less noble materials,
colored or uncolored, refecting light to varying
degrees, are hxed onto various surfaces or inlaid
into other bodies. Students will do mosaics using
a personal approach to a variety of techniques,
gradually moving toward creating a personal work
that will develop, transcend, divert or destroy
those values; or conceiving a work inspired by
mosaics in the literal or hgurative sense of the
term. And because mosaics tend to bring to life
a specihc place, students are free to develop
monumental projects linked to architecture, the
city, a garden, a landscape.
The teaching methods in this studio, resolutely
oriented toward adapting mosaics to innovative
artistic projects, also emphasize the history of this
technique, the ties uniting it to other disciplines
and its infuence on creations of major artists.
Fabrice Vannier was born in J963. After studying
Spanish and Latin American literature at the
Universit de Paris IV (J98J-J984), he studied
at the Ecole des Beaux-Arts of Paris (J984-J989)
and the Facultat de Belles Arts of Barcelona
(J990). He has restored and reconstructed
mosaics that are part of historical monuments
in Paris, Amiens, Budapest and Aquincum, and
executed monumental works for the artists Jean
Bazaine (Saint-Di-des-Vosges, Paris, Clamart),
Riccardo Licata (Monza), Philippe Cogne (Paris)
and others.
In his work, founded on ellipse and enigma,
Vannier either directly appropriates or twists the
imaginary that envelops mosaics, all the while
probing its history. His most recent creations-
Lithographies (2008), Premires stances sur le
nom de Louganis (2005), .aux bornes dernires
de linhme (2003)-were born of an analogic
intuition and reveal the Mediterranean world as
a system of poetic, mythical and biographical,
correspondences, reminiscences and references.
He has created pieces in France, Spain and
Hungary linked both to architecture and nature
and presented either in situ (Verteszentkereszt
Kapolna, 2007) or in exhibitions, namely in Spain,
Hungary and France (Memento Mori - jusqu ce
que la mort nous rassemble, Muse dvreux-
Ancien Evch, 2009).
Pierre Alferi Patrice Alexandre Jacques Aumont Vincent Barr
Dominique Belloir Philippe Bennequin Pierre Bergougnioux James Bld
Franois Boisrond Alain Bonfand Wernher Bouwens Tony Brown
Emmanuelle Brugerolles Marie-Jos Burki Jean-Marc Bustamante Elsa Cayo
Jean-Franois Chevrier Philippe Cogne Philippe Comar Patrick Devreux
trombioscope 2010-OK.indd 1 6/07/10 11:02:16
175 174
Elie During Sylvie Fanchon Dominique Figarella Michel Franois Dominique Gauthier Gilgian Gelzer Maurice Godelier Danile Hibon
Monique Jeudy-Ballini Tadashi Kawamata Michel Leclercq Franois-Ren Martin Bernard Moninot Guillaume Paris Marc Pataut par Clavel Giuseppe Penone
Bernard Piffaretti Abraham Pincas ric Poitevin Philippe Renault James Rielly Anne Rochette Michel Salsmann Emmanuel Saulnier
Didier Semin Valrie Sonnier Jean-Pierre Tanguy Patrick Tosani Fabrice Vannier Jean-Luc Vilmouth Djamel Tatah
trombinoscope 2010-OK.indd 2-3 8/07/10 12:35:17
Assessment
1
st
and 2
nd
-cycle degree
Monday, January 24, 2011 Courses begin
Registration for 2
nd
-semester
February 1
st
- 25, 2011 Course Unit assessment
April 8, 2011 End of theoretical courses
Spring vacation -
April 9 - 25, 2011 the cole is closed April J8 through April 25
2
nd
semester : January 24 - June 24, 20JJ
Calendar for academic year 20J0-20JJ 179
1
st
semester : September 23, 20J0 - January 2J, 20JJ
Assessment
2
nd
-cycle degree - Dnsap
2
nd
-cycle degree - Dnsap
November session -
November 15-19, 2010 registration deadline is October J
st
, 20J0
178 Calendar for academic year 20J0-20JJ
Calendar for academic
year 2010-2011
Student orientation assemblies and visits
September 23 - October 1
st
, 2010 to the Malaquais and Cap St-Ouen sites
Monday, September 27, 2010 Artistic practice studios open
Courses begin
Monday, October 4, 2010 and meetings with studio heads

Registration for J
st
-semester
November 2-26, 2010 Course Unit assessment
December 17, 2010 End of theoretical courses
December 18, 2010 -
January 2, 2011 Christmas vacation - the cole is closed
Assessment of 1
st
-semester
January 5 - 21, 2011 Course Units*
CUs for Studios 3, 5, 7, 9 :
January 3-21, 2011 for 2
nd
, 3
rd
, 4
th
and 5
th
-year students
CU for Studio J :
January 10 -14, 2011 for J
st
-year students
End of foreign languages, technical skills and
January 14, 2011 5
th
-year seminar courses and assessment
Assessment of 2
nd
semester
April 27 - May 10, 2011 Course Units*
April 26 - May 13, 2011 CU for Studio 8 - for 4
th
-year students
May 17, 18, 19 and 20, 2011 CU for Studio 2 - for J
st
-year students
May 16, 17 and 18,
June 9 and 10, 2011 CU for Studio 4 - for 2
nd
-year students
End of foreign languages, technical skills and
May 6, 2011 5
th
-year seminar courses and assessment
Registration for September
June 1
st
- 24, 2011 Course Unit assessment
Assessment of September session
September 2011 Course Unit**
May 30, 31 and June 1
st
;
June 6, 7, 8 and 20, 21, 22, 2011 1
st
cycle degree
2
nd
cycle degree - Dnsap
May 23 - 27, and June Session -
June 14 - 17, 2011 registration deadline is April 8, 20JJ
November Session -
November 14 - 18, 2011 registration deadline is September 30, 20JJ
The cole is closed throughout the month of August.
Student can use studios in July and September if they are not
being used for adult classes. Calendar subject to change.
*It is extremely important to consult specific schedules
and cole notice boards for examination dates, and
to check on going assessment dates with the relevant
professors.
**It is extremely important to consult cole notice
boards for examination dates..
Drawing as designing
Bernard Moninot Tuesdays 2-6 pm / Salle de dessin
Drawing from live models
James Bld Thursdays J0 am-J pm / Salle de dessin
States of forms
Bernard Moninot Wednesdays 2-6 pm / Salle de dessin

Lifeline
Gilgian Gelzer Fridays J0 am-J pm / Salle de dessin
Gray Matter
Gilgian Gelzer Thursdays 2-6 pm / Salle de dessin
Morphology
Philippe Comar Thursdays 2-6 pm
Valrie Sonnier Wednesdays 2-6 pm / Amphi de morphologie
Drawing "visits"
outside the cole Fridays 2-6 pm
Philippe Comar / Valrie Sonnier (program posted in the amphi de morphologie)
Emmanuel Saulnier, coordinator Wednesdays and Thursdays all day
Mondays, Tuesdays and Wednesdays all day,
Djamel Tatah every other week
Wednesdays, Thursdays and Fridays all day,
Patrick Tosani every other week
Jean-Luc Vilmouth Wednesdays and Fridays all day
Visiting Artist: N.S. Harsha
Jean-Michel Alberola Tuesdays all day
Vincent Barr every other week
Dominique Belloir Tuesdays and Thursdays all day
Franois Boisrond Tuesdays and Thursdays all day
Marie-Jos Burki, coordinator Thursdays and Fridays all day
Jean-Marc Bustamante Mondays and Thursdays all day
Tania Bruguera every other week
Tuesdays, Wednesdays and Thursdays all day,
Elsa Cayo every other week
Claude Closky Mondays and Wednesdays all day
Philippe Cogne every other week
Patrick Faigenbaum -
Marc Pataut Mondays and Tuesdays all day
Sylvie Fanchon, coordinator Tuesdays and Wednesdays all day
Dominique Figarella every other week
Michel Franois Tuesdays and Wednesdays all day
Tuesdays, Thursdays and Fridays all day,
Dominique Gauthier every other week
Tadashi Kawamata Tuesdays and Fridays all day
Guillaume Paris every other week
Giuseppe Penone every other week
Bernard Piffaretti every other week
ric Poitevin every other week
James Rielly every other week
Anne Rochette Wednesdays and Thursday afternoons
Artistic practice department
Course and teacher schedules 181
180 Course and teacher schedules
Drawing Section / Philippe Comar, coordinator
Printmaking-Bookmaking Section / Jean-Pierre Tanguy, coordinator
Aluminum photo-etching
Wernher Bouwens (initiation) Wednesday mornings - 2
nd
semester
Tuesday and Thursday afternoons
Patrick Devreux every other week
Michel Salsmann Tuesday and Thursday afternoons
Engraving
Wernher Bouwens (initiation) Monday mornings - 2
nd
semester
Wednesday and Thursday afternoons,
Jean-Pierre Tanguy Tuesdays and Thursdays all day
Lithography
Wernher Bouwens (initiation) Monday mornings - J
st
semester
Wednesday and Thursday mornings,
Michel Salsmann Tuesday mornings
Bookmaking practices
Wernher Bouwens Monday and Wednesday afternoons
Course and teacher schedules 183 182 Course and teacher schedules
Wednesday and Friday afternoons,
Michel Salsmann Tuesday and Thursday afternoons
Jean-Pierre Tanguy Tuesdays and Thursdays all day
Silkscreen printing
Wernher Bouwens (initiation) Wednesday mornings - J
st
semester
Tuesday and Friday mornings,
Michel Salsmann Thursday mornings
Digital Technologies Section / Vincent Rioux, head
2D computer imagery and desktop publishing
Bernard Mailly, Valrie Poifol,
3D computer imagery
Laurent Mercier
1nteractivity
Raphal Isdant, Christophe Lemaitre
Photography
Sabine Dizel, Jean-Michel Lapelerie,
Frdric Latouche, Christian Ruault
Sound
Jean-Franois Thomelin, Jean-Nol Yven
Video
Monique Bonaldi, Julie Courel
Technical Skills Department
Analyzing artworks
James Bld Fridays from J0 am, Muse du Louvre
Foundry work Information at the accueil scolarit
Fresco painting
Philippe Bennequin Mondays, Tuesdays and Wednesdays all day
Modeling
Patrice Alexandre Mondays and Wednesdays all day
Daniel Leclercq Wednesdays and Thursdays all day
Mosaics Wednesdays and Thursdays all day,
Fabrice Vannier Cap Saint-Ouen
Moldmaking and castins
Philippe Renault Thursdays and Fridays all day
Stonecutting-woodcuttins Wednesdays and Thursdays all day,
Gtz Arndt Cap Saint-Ouen
Painting techniques
Abraham Pincas Wednesdays and Thursdays all day
Stained glass Class held J:30-3 pm the second-to-the-last
Wednesdays of every month -
Salle de sminaire J A des loges
Student work session: Monday afternoons -
8, rue Maurice-Bouchor, 750J4 Paris
Gilles Rousvoal Work session dates announced at class meeting
Technical Workshops
Woodworking Open every day from J:30-7:30 pm,
Grard Delangle on a sign-up basis
Ceramics Tuesdays and Fridays all day,
Claude Dumas Cap Saint-Ouen
Composite materials Mondays and Tuesdays all day,
Serge Agoston Cap Saint-Ouen
Metalworking
Michel Salerno Open every day on a sign-up basis
Forging Mondays and Fridays all day,
Carole Leroy Cap Saint-Ouen
184 Course and teacher schedules
Esthetics J
st
semester 20J0-20JJ
Tuesdays 2-4 pm for lectures, 4-6 pm for student
Alain Bonfand work sessions - Amphi du mrier
History of contemporary art Mondays 7-9 pm - Amphi des loges I
Seminar: Wednesdays 6-J0 pm -
Jean-Franois Chevrier Amphi des loges I
History of literary
creation A and B Wednesdays and Thursdays 2-4:30 pm -
Pierre Bergounioux Amphi du mrier
General art history A and B Wednesdays and Thursdays 2-4 pm-
Franois-Ren Martin Amphi des loges I
History of photography
Jean-Franois Chevrier Tuesdays 6-9 pm - Amphi des loges I
and contemporary art Thursdays and Fridays JJ am-J pm -
Didier Semin Amphi des loges I
Theories of art J
st
semestre 20J0-20JJ
Mondays 2-4 pm for lectures, 4-6 pm for student
Alain Bonfand work sessions - Amphi des loges I
Visiting and associated professors
Anthropology-history
Maurice Godelier,
Monique Jeudy-Ballini Thursdays 5-7 pm - Amphi du mrier
Cinema Thursdays J0:30 am-J2:30 pm
Jeu de Paume - J, place de la Concorde
75008 Paris
Enrolment is limited - information and
Danile Hibon enrolment at the accueil scolarit
Drawings from the Collections Tuesdays J0 am-J2 pm - Salle Lesoufach -
Emmanuelle Brugerolles Palais des tudes
Course and teacher schedules 185
Language classes are held in the Btiment des Loges seminar rooms,
either on the J
st
foor (rooms J A, J B, J C ) or the 2
nd
foor (room 2 B).
1
st
semester 2010-2011
English Beginning
Damian Corcoran Thursdays J0 am-J2 pm - Salle 2 B
Christel Parisse Mondays de 5-7 pm - Salle J C
English Intermediate
June Allen Tuesdays J0 am-J2 pm - Salle J C
Thursdays J0 am-J2 pm - Salle J C
Christel Parisse Wednesdays 5-7 pm - Salle J C
Thursdays 5-7 pm - Salle J C
David Reckford Mondays 5-7 pm - Salle J B
Tuesdays 5-7 pm - Salle J B
Mark Robertson Thursdays 5-7 pm - Salle 2 B
English Advanced
Damian Corcoran Fridays J0 am-J2 pm - Salle 2 B
Jeff Rian Thursdays J0 am-J2 pm - Salle J B
Fridays J0 am-J2 pm - Salle J B
Mark Robertson Mondays 5-7 pm - Salle 2 B
Tuesdays 5-7 pm - Salle 2 B
Spanish Beginning
Jacques Caro Thursdays 5-7 pm - Salle J A
Spanish Intermediate
Laura Teruggi Mondays 5-7 pm - Salle J A
Spanish Advanced
Jacques Caro Wednesdays 5-7 pm - Salle J A
1talian Beginning
Daniela Capone Wednesdays J0 am-J2 pm - Salle J A
1talian Intermediate / Advanced
Daniela Capone Fridays J0 am-J2 pm - Salle J A
German Beginning
Anke Spth Thursdays J0 am-J2 pm - Salle J A
German Intermediate / Advanced
Anke Spth Mondays J0 am-J2 pm - Salle J A
French as a foreign language (FLE) Beginning
For regularly enrolled non-Francophones students and exchange students
Jacques Jeudy Mondays J0-JJ:30 am - Salle J C
Wednesdays J0-JJ:30 am - Salle J C
French as a foreign language (FLE) Intermediate
Vronique Teyssandier Tuesdays 2-3:30 pm - Salle J C
Fridays J0-JJ:30 am - Salle J C
French as a foreign language (FLE) Advanced
For regularly enrolled non-Francophones students
Jacques Jeudy Mondays JJ:30 am-J pm - Salle J C
Wednesdays JJ:30 am-J pm - Salle J C
Theoretical Study Department Language Department
Course and teacher schedules 187 186 Course and teacher schedules
2
nd
semester 2010-2011
English Beginning
Damian Corcoran Thursdays J0 am-J2 pm - Salle 2 B
Christel Parisse Mondays 5-7 pm - Salle J C
English Intermediate
June Allen Tuesdays J0 am-J2 pm - Salle J B
Christel Parisse Wednesdays 5-7 pm - Salle J C
David Reckford Mondays 5-7 pm - Salle J B
Tuesdays 5-7 pm - Salle J B
Mark Robertson Thursdays 5-7 pm - Salle 2 B
English Advanced
Damian Corcoran Fridays J0 am-J2 pm - Salle 2 B
Jeff Rian Thursdays J0 am-J2 pm - Salle J B
Mark Robertson Mondays 5-7 pm - Salle 2 B
Spanish Beginning
Jacques Caro Thursdays 5-7 pm - Salle J A
Spanish Intermediate
Laura Teruggi Mondays 5-7 pm - Salle J A
Spanish Advanced
Jacques Caro Wednesdays 5-7 pm - Salle J A
1talian Beginning
Daniela Capone Wednesdays J0 am-J2 pm - Salle J A
1talian Intermediate / Advanced
Daniela Capone Fridays J0 am-J2 pm - Salle J A
German Beginning
Anke Spth Thursdays J0 am-J2 pm - Salle J A
German Intermediate / Advanced
Anke Spth Mondays J0 am-J2 pm - Salle J A
French as a foreign language (FLE) Beginning
Vronique Teyssandier Tuesdays 3:30-5 pm - Salle J C
Fridays JJ:30 am-J pm - Salle J C
French as a foreign language (FLE) Intermediate
Vronique Teyssandier Tuesdays 2-3:30 pm - Salle J C
Fridays J0-JJ:30 am - Salle J C
French as a foreign language (FLE) Advanced
For regularly enrolled non-Francophones students
Jacques Jeudy Mondays JJ:30 am-J pm - Salle J C
Wednesdays JJ:30 am-J pm - Salle J C
Seminar meetings are generally hels twice a month starting Monday, October 4, 20J0.
The specihc schedule is posted and available at the Accueil scolarit.
Meaning and line
Tuesday afternoons
Salle de sminaire J D
Pierre Alferi See specihc schedule
Matter of images
and powers of the gure Thursday mornings
Jacques Aumont See specihc schedule
Dance and the visual arts
Monday mornings
Daniel Dobbels See specihc schedule
Faites vos jeux
Monday afternoons
Elie During See specihc schedule
Caricatures, cartoons,
and press drawings Every Thursday afternoon
Didier Semin See specihc schedule
Tony Brown, director
Patrick Raynaud, teacher
Paul Sztulman, teacher
Vincent Gonzalvez, coordinator Atelier Devot
5
th
-year seminars
Programme La Seine
188 Course and teacher schedules Course and teacher schedules 189
Monday Philippe Bennequin - Alain Bonfand -
Wernher Bouwens - Tania Bruguera* -
Jean-Marc Bustamante - Jean-Franois Chevrier -
Claude Closky - Philippe Cogne* -
Daniel Dobbels* - Elie During* -
Patrick Faigenbaum - Marc Pataut -
Bernard Piffaretti* - Djamel Tatah*
Tuesday Jean-Michel Alberola - Patrice Alexandre -
Pierre Alferi* - Dominique Belloir -
Phillippe Bennequin - Franois Boisrond -
Alain Bonfand - Emmanuelle Brugerolles -
Tania Bruguera* - Elsa Cayo* -
Jean-Franois Chevrier - Philippe Cogne* -
Patrick Devreux* - Patrick Faigenbaum -
Sylvie Fanchon - Michel Franois -
Dominique Gauthier* - Tadashi Kawamata -
Bernard Moninot - Guillaume Paris* -
Marc Pataut - Bernard Piffaretti* -
ric Poitevin* - James Rielly* - Michel Salsmann -
Jean-Pierre Tanguy - Djamel Tatah*
Wednesday Gtz Arndt - Vincent Barr* - Philippe Bennequin -
Pierre Bergounioux - Wernher Bouwens -
Tania Bruguera* - Elsa Cayo* -
Jean-Franois Chevrier - Claude Closky -
Philippe Cogne* - Patrick Devreux* -
Sylvie Fanchon - Dominique Figarella* -
Michel Franois - Daniel Leclercq -
Franois-Ren Martin - Bernard Moninot -
Guillaume Paris* - Giuseppe Penone* -
Bernard Piffaretti* - Abraham Pincas -
ric Poitevin* - James Rielly* - Anne Rochette -
Gilles Rousvoal** - Emmanuel Saulnier -
Valrie Sonnier - Djamel Tatah* - Patrick Tosani* -
Fabrice Vannier - Jean-Luc Vilmouth
Thursday Gtz Arndt - Jacques Aumont* - Vincent Barr* -
Dominique Belloir - Pierre Bergounioux -
James Bld - Franois Boisrond -
Marie-Jos Burki** - Jean-Marc Bustamante -
Elsa Cayo* - Philippe Comar - Patrick Devreux* -
Dominique Figarella* - Dominique Gauthier* -
Gilgian Gelzer - Maurice Godelier -
Danile Hibon - Monique Jeudy-Ballini -
Daniel Leclercq - Franois-Ren Martin -
Guillaume Paris* - Giuseppe Penone* -
Abraham Pincas - ric Poitevin* -
Philippe Renault - James Rielly* - Anne Rochette -
Michel Salsmann - Emmanuel Saulnier -
Didier Semin - Jean-Pierre Tanguy -
Patrick Tosani* - Fabrice Vannier
Friday Vincent Barr* - James Bld -
Marie-Jos Burki** - Philippe Comar -
Patrick Devreux* - Dominique Figarella* -
Dominique Gauthier* - Gilgian Gelzer -
Tadashi Kawamata - Giuseppe Penone* -
Philippe Renault - Didier Semin -
Valrie Sonnier - Patrick Tosani* -
Jean-Luc Vilmouth
* every other week
** once a month
Teachers weekly presence subject to change.
Weekly presence
190 Plan de lcole
Layout of the cole
Palais des tudes
Htel
de Chimay
Quai
Malaquais
Cour vitre
Cour
dhonneur
Cour
Bonaparte
Cour
Perret
Entre
Amphi
dhonneur
Amphi II
Amphi I
Loges
Amphi
de
morphologie
Amphi du mrier
Chapelle
Cour
du mrier Galeries dexposition
Btiment Perret
Jardin
Lenoir
Accueil
Chimay
S
c
o
la
r
it
J7
J5
J3
JJ
J4 rue Bonaparte Accs rue Bonaparte
Accs quai Malaquais
M
BUS
Saint-Germain-des-Prs
39-95
BUS 24-27-39-95
Plan d'information
Plan daccs Cap Saint-Ouen 191
Layout
Cap Saint-Ouen
Cap Saint-Ouen,
5 rue Paul-Bert,
93400 Saint-Ouen
Porte de Clignancourt ou Garibaldi
56, J37, PC 3, 85, 540, J66, 255,
Noctilien N J4, N 44
M
BUS
BUS
Notes 193

192 Notes
194 Notes Notes 195
196
cole Nationale Suprieure
des Beaux-Arts
J4, rue Bonaparte - 75272 Paris Cedex 06
Tl. : 0J 47 03 50 00
www.beauxartsparis.fr
President of the Administration Board
Evrard Didier
Director
Henry-Claude Cousseau
Deputy Director and Dean of Studies
Gata Leboissetier
Deputy Director and Head Administrator
Thierry Jopeck
Head of Scientihc and Cultural
Development Department
Bruno Girveau
Head of Scholastic Affairs
Carole Cronne
Head of Publications
Pascale Le Thorel
Production
Pascale Georget
Graphic design
Intgral Ruedi Baur & associs
English translation: Amy Jacobs
Printed by Corlet in Cond-sur-Noireau
in September 20J0
Cover illustration : Natalia Villanueva, 2D| , ins-
tallation, 20J0, photo Marie-Paule Ngre.
Inside photos:
page 6 : portes ouvertes 2009 ; page J2 : Agathe
Piti ; page J8 : Eva Barto et Louise Siffert, photo
Marie-Paule Ngre ; page 28 : Emma Tandy,
Density: 7.61, 20J0, atelier Jean-Michel Alberola ;
page JJ6 : vue de latelier Devot, 2009 ; page
J22 : Veronika Doszla, Message for Walter, 20J0,
bois, bronze et aluminium, atelier Anne Rochette
et Guillaume Talbi, Black Plant, 20J0, bronze
patin, ateliers Werner Bouwens, Giuseppe
Penone ; page J28 : Yvan Argote, All my girlfriends,
2007-2009, ateliers Paris / Closky ; page J34 :
Asami Nishimura, Flying Fish, atelier Jean-Luc
Vilmouth ; page J40 : Benote Romand Vieux-
Maire, atelier P2F ; pages J73, J74, J75 : Pierre
Alferi Anne-Lise Broyer ; Jacques Aumont
LyangKim ; Vincent Barr Jacqueline Salmon ;
Emmanuel Saulnier Steeve Bauras ; page J76 :
Judith Lacelle, Sans titre, 20J0, atelier Jean-Luc
Vilmouth
cole nationale suprieure des beaux-arts, Paris,
20J0, all rights reserved

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