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See detailPortions et antioxydants en pratique.
Pincemail, Joël ULg; Defraigne, Jean-Olivier ULg

in Nutrition Infos (2008), (oct-nov-déc), 30-33

Detailed reference viewed: 31 (5 ULg)
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See detailPortrait - The Victory Travelers
Sacré, Robert ULg

Article for general public (2010)

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See detailPortrait : The Canton Spirituals
Sacré, Robert ULg

Article for general public (2009)

Detailed reference viewed: 7 (0 ULg)
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See detailPortrait d'auteur : Pascal Durand, le pouvoir des mots, les mots du pouvoir…
Durand, Pascal ULg; Sloover, Jean

Article for general public (2009)

Entretien, en forme d'autoportrait scientifique, avec le journaliste Jean Sloover.

Detailed reference viewed: 67 (8 ULg)
See detailLe Portrait d'homme en armure de Giovanni Gerolamo Savoldo, un portrait présumé de Gaston de Foix
Fagnart, Laure ULg

in Barreto, Joana (Ed.) Actes de la journée d'études Voir Gaston de Foix. La construction paradoxale d'un mythe national (in press)

Detailed reference viewed: 40 (0 ULg)
See detailPortrait d’un inconnu : la liberté en "Situations"
Cormann, Grégory ULg

Article for general public (2005)

Detailed reference viewed: 20 (8 ULg)
Peer Reviewed
See detailLe portrait dans Daguerréotypes d'Agnès Varda
Van Cauwenberge, Geneviève ULg

Conference (2006, December)

Detailed reference viewed: 51 (3 ULg)
See detailPortrait de l’acteur en personnage. L’acteur et ses masques dans le théâtre de Valère Novarina
Dubouclez, Olivier ULg

in La Bouche théâtrale. Études de l'œuvre de Valère Novarina (2005)

Detailed reference viewed: 9 (0 ULg)
See detailLe portrait de Lambert Lombard
Oger, Cécile ULg

in Denhaene, Godelieve (Ed.) Lambert Lombard, Peintre de la Renaissance. Liège 1505/06-1566 :Essais interdiscipinaires et catalogue de l'exposition (2006)

Detailed reference viewed: 41 (16 ULg)
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See detailUn portrait de Néron doté du sistre isiaque
Veymiers, Richard ULg; Bricault, Laurent

in Amandry, Michel; Geissen, Angelo; Gerin, Dominique (Eds.) Aegyptiaca serta in Soheir Bakhoum memoriam. Mélanges de numismatique, d'iconographie et d'histoire (2008)

A propos d'une intaille en agate montrant un portrait de Néron doté d'un sistre isiaque.

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See detailLe portrait dévotionnel dans la peinture des anciens Pays-Bas entre 1400 et 1550 : approche méthodologique pour une analyse du langage de l'image
Falque, Ingrid ULg

in Revue Belge d'Archéologie et d'Histoire de l'Art (2011), LXXX

From the early Middle Ages onwards devotional portraits are well attested but during the 15th century they occupy a prominent place in the pictorial production of the ancient Low Countries. If at first ... [more ▼]

From the early Middle Ages onwards devotional portraits are well attested but during the 15th century they occupy a prominent place in the pictorial production of the ancient Low Countries. If at first these portraits were largely reserved to princes and kings, they now spread into broader social circles. Bourgeois, nobles, ducal officials and clergy wanted to leave traces of their piety and their presence on earth. This resulted in an amplification and diversification without precedent of religious works including one or more portraits. In the course of the 16th century however this trend slackened.During the 15th and 16th centuries, the integration of a portrait into a religious composition can take many forms. The sponsor is often portrayed on his knees, hands clasped, but he can also act as privileged follower situated among the saints, or even take part in the scene itself, through the features of one of the protagonists. The corpus, comprising over 750 works for the 15th and 16th centuries, shows many variations of these basic formulas, suggesting a multiplicity of meanings and functions of these works. The specific nature of this pictorial production, mixing sacred and profane elements, asks for a study that does justice to this dual nature. The analysis establishes a classification based on a typology combining the physical structure of works (front / rear, central part / wings) and the symbolic structuring of the fictional space they show (how the sacred and the profane area are differentiated, the gradation or the fusion between both areas). It also takes into account the presence of figures of mediation, in particular the patron saints. The stylistic approach focuses initially on the iconographic language that is used and aims to identify the semantic units before referring to external textual sources (archives, literature of devotion etc.). These in turn play a vital role in better understanding the often complex motivations of the devotees who are portrayed. By their presence in the image they wish to express a prayer, a vow, and especially to ensure their salvation in the hereafter. But their portraits also reflect a concern for self-representation, as evidenced by sumptuous clothing, jewelry, emblems which indicate the social rank and the position they occupy in society. The article demonstrates the importance of a rigorous cluster analysis, which outlines the issues as they appear after the confrontation with all known iconographic parallels. [less ▲]

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See detailPortrait dévotionnel et ascension spirituelle dans la peinture flamande du XVe siècle : le cas de la Vierge d’Exeter de Petrus Christus
Falque, Ingrid ULg

in BERGMANS, Luc (Ed.) La contempplation dans la peinture flamande (14e-16e siècles). Actes de la journée d'études organisée au Centre d'études supérieures de Tours (in press)

Consacré à la célèbre Vierge d’Exeter de Petrus Christus (Berlin, Gemäldegalerie), cet article vise à montrer que le tableau – commandé par le chartreux Jan Vos qui y apparaît en prière devant la Vierge – ... [more ▼]

Consacré à la célèbre Vierge d’Exeter de Petrus Christus (Berlin, Gemäldegalerie), cet article vise à montrer que le tableau – commandé par le chartreux Jan Vos qui y apparaît en prière devant la Vierge – comporte des références au thème de l’ascension spirituelle et visualise ainsi le progrès spirituel de Jan Vos. Ce dernier est représenté à l’entrée du palais céleste, où il est introduit par sa sainte patronne et accueilli par la Vierge. Il s’apprête ainsi à délaisser le monde terrestre, symbolisé par la ville représentée en contrebas, pour rejoindre le Christ et atteindre la béatitude éternelle, comme le préconise Gérard Zerbolt van Zutphen dans son De spiritualibus ascensionibus. Les données historiques relatives au dévot m’ont permis de découvrir qu’il a eu accès à plusieurs ouvrages traitant de l’évolution de la vie intérieure et plus précisément au texte de Zerbolt pendant son séjour long de plusieurs années à la chartreuse de Nieuwlicht. Le lien entre le tableau et le traité de Gérard Zerbolt est ainsi patent. [less ▲]

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See detailPortrait du cheval sacré dans la religion védique
Swennen, Philippe ULg

in Studien zur Indologie und Iranistik (2007), 24

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See detailPortrait of the Artist as a Cross-Dresser: Chris Abani's The Virgin of Flames
Tunca, Daria ULg

Conference (2010, June 08)

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See detailPortrait of the Philosopher as a Young Diplomat. Some reflections on Latour's Enquiry into Modes of Existence
Pieron, Julien ULg

Conference given outside the academic context (2013)

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See detailPortrait of the Prose Poet as Glutton
Delville, Michel ULg

in Sentence: A Journal of Prose Poetics (2003)

Detailed reference viewed: 9 (2 ULg)