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ArgumentaireEntre la r&#233;union des &#201;tats g&#233;n&#233;raux et la fin du Premier Empire, vingt-cinq ans s&#8217;&#233;coulent pendant lesquels bouleversements politiques, &#233;conomiques, sociaux et culturels cr&#233;ent un contexte d&#8217;instabilit&#233; pour le secteur du luxe et du demi-luxe fran&#231;ais.Les ateliers et les manufactures sont confront&#233;s &#224; des conditions mat&#233;rielles et organisationnelles difficiles. Le manque de mati&#232;res premi&#232;res, la d&#233;t&#233;rioration des finances et la diminution du personnel en raison du d&#233;part des jeunes hommes aux arm&#233;es ont un impact n&#233;gatif sur la production artisanale. L&#8217;incertitude g&#233;n&#233;rale que repr&#233;sente cette p&#233;riode d&#8217;instabilit&#233; politique et de conflits arm&#233;s n&#8217;emp&#234;chent pourtant pas l&#8217;&#233;mergence de modes. De nouveaux march&#233;s s&#8217;ouvrent et offrent de riches opportunit&#233;s aux artistes et artisans pour diversifier et &#233;largir leurs cr&#233;ations.La p&#233;riode r&#233;volutionnaire a souvent &#233;t&#233; consid&#233;r&#233;e comme un temps de rupture, en particulier dans le domaine du luxe dont elle remet en cause les fondements. Il s&#8217;agira ici, au contraire, de l&#8217;envisager dans sa continuit&#233;, &#224; la jonction des XVIIIe et XIXe&#160;si&#232;cles. La reprise de la production des objets de luxe s&#8217;observant d&#232;s le Directoire et s&#8217;&#233;panouissant avec l&#8217;Empire, les mutations de la soci&#233;t&#233; et du travail posent la question du d&#233;veloppement de nouveaux paradigmes. &#192; quels &#233;v&#232;nements et &#224; quels changements les manufactures d&#8217;&#201;tat, les ateliers de renom ainsi que les producteurs r&#233;gionaux doivent-ils faire face entre l&#8217;Ancien R&#233;gime et la Restauration des Bourbons&#160;? De quelle mani&#232;re les artistes et les artisans r&#233;ussissent-ils &#8211;&#160;ou &#233;chouent-ils&#160;&#8211; &#224; s&#8217;adapter&#160;? Mais aussi comment, de ces situations complexes, &#233;mergent les facteurs m&#234;mes d&#8217;une &#233;volution possible d&#8217;un secteur en processus d&#8217;industrialisation&#160;?Le pr&#233;sent colloque entend faire le point sur cette p&#233;riode charni&#232;re de l&#8217;histoire des arts d&#233;coratifs en France, l&#8217;objectif &#233;tant de mieux comprendre comment, au sein d&#8217;une actualit&#233; foisonnante, porteuse de transformations, ont fonctionn&#233; des ateliers et des manufactures &#233;tablis &#224; Paris et sur l&#8217;ensemble du territoire fran&#231;ais.Pluridisciplinaire, croisant en particulier l&#8217;histoire de l&#8217;art, l&#8217;histoire sociale, l&#8217;histoire &#233;conomique, l&#8217;histoire culturelle et l&#8217;histoire des techniques, le colloque cherchera autant &#224; affiner la p&#233;riodisation de son sujet d&#8217;&#233;tude qu&#8217;&#224; fournir les clefs de lecture d&#8217;une analyse plurielle des objets, en compl&#233;ment d&#8217;une approche stylistique d&#233;j&#224; &#233;prouv&#233;e.Les communications, d&#8217;une dur&#233;e de 20&#160;minutes, pourront s&#8217;articuler autour de trois axes&#160;:Organisation de la productionActeurs et lieux de la production &#8211; Organisation des ateliers avant et apr&#232;s la dissolution des corporations en 1791 &#8211; Cadre institutionnel et juridique de la production &#8211; Concepteurs et fabricants des diff&#233;rents m&#233;tiers li&#233;s au luxe &#8211; Fournisseurs et fournitures de mati&#232;res premi&#232;res &#8211; &#201;mulation et comp&#233;tition entre manufactures &#233;tatiques et entreprises priv&#233;es.Formes et mat&#233;rialit&#233;Outils, techniques et mat&#233;riaux &#8211; Modes &#8211; &#201;volutions formelles et industrialisation &#8211; &#201;coles et acad&#233;mies au service de l&#8217;industrie &#8211; Bilan quantitatif et qualitatif de la production &#8211; Motifs iconographiques et stylistiques des objets manufactur&#233;s &#8211; Savoir-faire et &#233;volution du go&#251;t.DistributionExpositions internationales &#224; partir de 1798 (an VI)&#160;&#8211; Voies de diffusion &#8211;&#173;&#173; Fournisseurs d&#8217;objets manufactur&#233;s &#8211; R&#233;seaux commerciaux &#8211; Presse et publicit&#233; &#8211; Interm&#233;diaires et marchands &#8211; Lieux de vente &#8211; Pr&#233;sents diplomatiques &#8211; &#173; Comp&#233;titivit&#233; et concurrence commerciale.Conditions de soumissionLes propositions de communication d&#8217;une page maximum ainsi qu&#8217;une courte notice bio-bibliographique en fran&#231;ais ou en anglais sont &#224; envoyer &#224; l&#8217;adresse mail suivante : AteliersManufactures1789-1815@dt-forum.orgavant le lundi 30 septembre 2013.Langues du colloque&#160;: fran&#231;ais et anglais.Ce colloque international pluridisciplinaire aura lieu les vendredi 13 et samedi 14 juin 2014 &#224;&#160;Paris, Institut national d&#8217;histoire de l&#8217;art et Centre allemand d&#8217;histoire de l&#8217;artComit&#233; d&#8217;organisationNatacha Coquery (universit&#233; Lumi&#232;re Lyon&#160;2, LAHRA)J&#246;rg Ebeling (Centre allemand d&#8217;histoire de l&#8217;art, Paris)Anne Perrin-Khelissa (universit&#233; Toulouse&#160;2 Le Mirail)Philippe S&#233;n&#233;chal (Institut national d&#8217;histoire de l&#8217;art)Comit&#233; scientifiqueMarc Bayard (Mobilier national, Paris)&#160;;Jean-Francois Belhoste (&#201;cole Pratique des Hautes &#201;tudes, Paris)&#160;;Andreas Beyer (Centre allemand d&#8217;histoire de l&#8217;art, Paris)&#160;;Philippe Bordes (universit&#233; Lumi&#232;re Lyon&#160;2)&#160;;Anne Dion (mus&#233;e du Louvre)&#160;;Daniela Gallo (universit&#233; Pierre Mend&#232;s France - Grenoble&#160;2)&#160;;Liliane Hilaire-P&#233;rez (universit&#233; Paris&#160;7)&#160;;Ulrich Leben (Bard Graduate Center, New York)&#160;;Lesley Miller (Victoria &#38; Albert Museum, Londres) ;Jean-Michel Minovez (universit&#233; de Toulouse&#160;2)&#160;;France Nerlich (universit&#233; de Tours)&#160;;Odile Nouvel (Paris)&#160;;Jean-Michel Olivier (universit&#233; de Toulouse&#160;2)&#160;;Hans Ottomeyer (Berlin)&#160;;Daniel Roche (Coll&#232;ge de France, Paris)&#160;;B&#233;n&#233;dicte Savoy (Technische Universit&#228;t, Berlin)&#160;;Patrick Verley (Gen&#232;ve).ArgumentThe twenty-five years between the assembly of the &#201;tats g&#233;n&#233;raux and the end of the Napoleonic Empire saw political, social, cultural and economic changes that created a context of instability for the luxury industries and fine arts in France.Workshops and manufacturers were confronted with material and logistical challenges. The shortage of materials, the collapse of the financial system and the loss of a significant number of skilled workmen to the army, had a direct impact on French productivity. In spite of these difficult conditions, the insecurity and instability of social upheaval and war in this period, creativity and the invention of new trends and fashions were by no means halted in Paris. New markets quickly offered plenty of opportunities for inventive craftsmen to extend and diversify their activities.Up until now the revolutionary period has mainly been considered as a period of disruption, especially in the field of luxury industries, which were considered to be at odds with the values of the new emerging social system. It is now possible to show that contrary to this general assumption, continuity can be found in this pivotal period between the eighteenth and nineteenth centuries. The quick re-awakening of the production of luxury goods followed the establishment of the Directoire and its flowering during the Napoleonic years is proof of great flexibility and adjustment to social change and the new paradigms of labor. A number of questions emerge from these observations: what events and changes confronted former royal and later national manufacturers, famous workshops and regional producers in the years between the Ancien R&#233;gime and the Bourbon Restoration? In what ways were artists and artisans able to adapt or resign themselves to the new challenges?&#160; But also &#8211; to what extent did these events stimulate new modes of creativity and production which would have an impact on the development of industrialization in France?This symposium aims to shed light on a pivotal period in the history of material culture and the decorative arts in France. One of its goals is to provide a better understanding of and insight into what exactly happened during these years and into the impact of the transformation of every aspect of civil and industrial life on Parisian and regional production in this period, which is generally recognized as one of cataclysmic change.Organized as an interdisciplinary event, this symposium will study the period from the point of view of art, social, economic and technological histories. Its main objectives are to define and shed light on the specific characteristics of the period and its production, in order to generate new insights and conclusions which complement the field&#8217;s well-established stylistic analyses, while also providing new tools for the broader analysis of objects.Contributions of 20 minutes should approach the following pivotal points:The organization of production: Actors and places of production &#8211; The management of workshops before and after the abolition of the guilds in 1791 &#8211; The institutional and legal context for production &#8211; Creators and makers in different trades linked to the luxury industries- Supply and&#160; suppliers of materials &#8211; Competition between national and private industries.Forms and Materials: Tools, techniques and materials &#8211; Fashion and trends &#8211; The relation of stylistic evolution and industrialization- Professional schools and academic institutions for the industries- Iconographies and style for manufactured goods &#8211; Know-how and the evolution of styleDistribution: Industrial exhibitions from 1798 onwards &#8211; Methods of distribution &#8211; Producers of manufactured goods &#8211; Commercial networks &#8211; Press and publicity - Franchising and dealers &#8211; Places of sale &#8211; Diplomatic gifts &#8211; Commercial challenge and competitionSubmission guidelinesPapers may be given in French or English languageProposals for papers of one A-4 side length and a short biography in French or English should be sent to the following address: AteliersManufactures1789-1815@dt-forum.orgbefore Monday September 30th&#160;2013.This International symposium will take place in Paris, &#160;Institut national d&#8217;histoire de l&#8217;art and Centre allemand, on&#160;Friday and Saturday, June 13 &#38; 14, 2014.Organisational BoardNatacha Coquery (universit&#233; Lumi&#232;re Lyon&#160;2, LAHRA)J&#246;rg Ebeling (Centre allemand d&#8217;histoire de l&#8217;art, Paris)Anne Perrin-Khelissa (universit&#233; de Toulouse&#160;2 Le Mirail)Philippe S&#233;n&#233;chal (Institut national d&#8217;histoire de l&#8217;art)Scientific BoardMarc Bayard (Mobilier national, Paris)&#160;;Jean-Francois Belhoste (&#201;cole Pratique des Hautes &#201;tudes, Paris)&#160;;Andreas Beyer (Centre allemand d&#8217;histoire de l&#8217;art, Paris)&#160;;Philippe Bordes (universit&#233; Lumi&#232;re Lyon&#160;2)&#160;;Anne Dion (mus&#233;e du Louvre)&#160;;Daniela Gallo (universit&#233; Pierre Mend&#232;s France - Grenoble&#160;2)&#160;;Liliane Hilaire-P&#233;rez (universit&#233; Paris&#160;7)&#160;;Ulrich Leben (Bard Graduate Center, New York)&#160;;Lesley Miller (Victoria &#38; Albert Museum, Londres) ;Jean-Michel Minovez (universit&#233; de Toulouse&#160;2)&#160;;France Nerlich (universit&#233; de Tours)&#160;;Odile Nouvel (Paris)&#160;;Jean-Michel Olivier (universit&#233; de Toulouse&#160;2)&#160;;Hans Ottomeyer (Berlin)&#160;;Daniel Roche (Coll&#232;ge de France, Paris)&#160;;B&#233;n&#233;dicte Savoy (Technische Universit&#228;t, Berlin)&#160;;Patrick Verley (Gen&#232;ve).