{"word_count": 1860, "character_count": 14630}
APPEL &#192; CONTRIBUTIONJeudi 22 et vendredi 23 novembre 2012 &#8211; Lyon, mus&#233;e GadagneLe commerce du luxe &#8211; Le luxe du commerce. Production, exposition et circulation des objets pr&#233;cieux du Moyen &#194;ge &#224; nos joursThe Trade in Luxury and the Luxury of Trade. The production, display, and circulation of precious objects from the Middle-Ages to the present dayArgumentaireComment se produisent, s&#8217;exposent, se diffusent et se consomment les produits du luxe ? Le but de ce colloque est de revenir sur la question de la sp&#233;cialisation progressive d&#8217;un commerce vou&#233; aux objets pr&#233;cieux qui concourent &#224; l&#8217;embellissement de la personne ou du cadre de vie. Il entend &#234;tre une manifestation largement ouverte d&#8217;un point de vue chronologique, spatial et disciplinaire, faisant appel &#224; des sp&#233;cialistes d&#8217;horizons diff&#233;rents : histoire, histoire de l&#8217;art, &#233;conomie, litt&#233;rature, sociologie, etc.Cette approche interdisciplinaire du march&#233; du luxe sur la longue dur&#233;e, du Moyen Age &#224; nos jours, permettra de confronter les exp&#233;riences et de mettre en relief les permanences et les mutations. Le luxe a souvent &#233;t&#233; cantonn&#233; aux productions des beaux-arts ; il s&#8217;agira ici de montrer la richesse et la diversit&#233; de ce qui &#233;tait (et reste) compris sous cette appellation et d&#8217;observer comment se sont progressivement mis en place des march&#233;s sp&#233;cialis&#233;s. Ce colloque d&#233;veloppera deux approches sp&#233;cifiques, d&#8217;une part les acteurs et les marchandises, d&#8217;autre part les lieux de vente et la puissance mat&#233;rielle et symbolique attach&#233;e &#224; ce secteur particulier de l&#8217;&#233;conomie. Le luxe ne ressortit pas, en effet, seulement aux logiques et aux formes de l&#8217;&#233;conomie mat&#233;rielle ; il est &#233;galement une valeur pol&#233;mique, commerce symbolique, argument politique, controverse religieuse, etc., dont les termes croisent, anticipent, s&#8217;affranchissent ou prolongent les circuits de sa consommation.Les communications, qui pourront &#233;tudier aussi bien les exemples fran&#231;ais qu&#8217;&#233;trangers, devront s&#8217;inscrire dans les axes d&#233;velopp&#233;s ci-dessous :I / March&#233; du luxe, marchands et marchandises    Les acteurs (biographies, carri&#232;res) ; les interm&#233;diaires, du producteur au consommateur (marchands, agents&#8230;) ; la professionnalisation du secteur, de l&#8217;atelier au commerce sp&#233;cialis&#233; (galeristes, boutiques et maisons de luxe&#8230;).    L&#8217;organisation du commerce du luxe (modes administratifs, professionnels, r&#233;glementations et contraintes, etc.) ; sp&#233;cialisation progressive et s&#233;paration des corps de m&#233;tier (producteurs/marchands) ; de l&#8217;artisanat &#224; l&#8217;industrie du luxe : de la boutique &#224; la marque, de la maison &#224; la holding, la formation de groupes de luxe mondiaux (LVMH, PPR, Richemont, Prada&#8230;), aux techniques industrielles (publicit&#233; de masse, etc.) ; la mondialisation du march&#233; du luxe.    Les mati&#232;res premi&#232;res et la production ; importation et transformation ; savoir-faire local ou mondialisation ; les techniques et proc&#233;d&#233;s industriels ; les formes de sous-traitance et de d&#233;localisation ; les ouvriers, techniciens, industriels, inventeurs du luxe et du demi-luxe.    La d&#233;mocratisation du luxe et les objets (simili, faux, plaqu&#233;, contrefa&#231;on, seconde main, faux luxe et demi-luxe) ; les traficants (faussaires, truands, revendeurs, marchands&#8230;).    Les cat&#233;gories du luxe : la notion de produit de luxe dans la longue dur&#233;e, relativit&#233; et fluctuations de la d&#233;finition, les niveaux de luxe (accessible, interm&#233;diaire, inabordable&#8230;) ; &#233;tudes de cas (le bijou, la tapisserie, le v&#234;tement, l&#8217;horlogerie, la maroquinerie, l&#8217;automobile, le vin, voire des services comme le tourisme ou l&#8217;immobilier).    Le commerce de l&#8217;art (peinture, sculpture, gravure) et l&#8217;art commercial (demi-luxe) ; la mise en place du partage entre luxe et beaux-arts ; le chemin d&#8217;un objet d&#8217;art, de la sortie de l&#8217;atelier au mus&#233;e.II/ Inscription urbaine et architecturale du march&#233; du luxe    Exposition, mise en sc&#232;ne, promotion : march&#233; du luxe et innovation architecturale.    L&#8217;inscription du commerce de luxe dans l&#8217;espace urbain (rues, quartiers&#8230;) ; les lieux de vente ou de conservation et les modes d&#8217;emprise urbaine et sociale (boutiques, ateliers, foires, ponts, march&#233;s, h&#244;tels des ventes, galeries, biennales, marchands de couleurs, cercles mondains, associations d&#8217;artistes, show rooms, m&#233;gastores&#8230;) ; les interactions entre contraintes professionnelles, techniques et socio-psychologiques (la griffe, l&#8217;image d&#8217;un quartier).    M&#233;diatisation et strat&#233;gies diff&#233;renci&#233;es de visibilit&#233; (enseignes, &#171; triangle d&#8217;or &#187;, publicit&#233;, journaux sp&#233;cialis&#233;s, revues financ&#233;es par des galeristes, Internet&#8230;).III/ Circulations et usages du luxe    Les r&#233;seaux socio-professionnels et g&#233;ographiques du march&#233; du luxe, des lieux de production aux lieux de consommation ; relations verticales (n&#233;gociants, producteurs, grossistes, industriels, financiers, d&#233;taillants&#8230;) et horizontales (r&#233;seaux de collaboration professionnelle, du local &#224; l&#8217;international), etc.    Jeu d&#8217;&#233;chelles et dynamiques territoriales du march&#233; du luxe : quelles circulations pour quels produits (aires de chalandise) ? Les limites de la ville, de la r&#233;gion, du pays ; produits de luxe, dynamiques de proximit&#233; et mondialisation ; etc.     Perp&#233;tuation, d&#233;mocratisation, d&#233;valorisation, r&#233;invention du luxe ; quelles sources pour estimer l&#8217;&#233;largissement du march&#233;, les variations de la notion de luxe et la circulation des produits dans la soci&#233;t&#233; ? (le luxe &#224; la campagne, le luxe populaire&#8230;) ; les m&#233;canismes de diffusion du luxe et les rapports imitation/invention/distinction ; les relations entre l'&#233;volution du luxe et celle de la soci&#233;t&#233;.IV/ L&#8217;&#233;conomie intellectuelle du luxe    Conceptions et usages socio-politiques du luxe : de la sph&#232;re priv&#233;e &#224; la sph&#232;re publique, luxe visible et luxe intime (maisons princi&#232;re, bourgeoise), la parade sociale (carrosses, blasons, v&#234;tements&#8230;).    Le luxe dans tous ses &#233;tats : munificence, prodigalit&#233;, gloire et pr&#233;ciosit&#233; etc.    Le luxe des autres : sa place dans les r&#233;cits de voyage, les utopies.    Le luxe et ses opposants : r&#233;ception et critique du d&#233;veloppement du commerce du luxe ; le luxe, n&#233;cessit&#233; culturelle ou gangr&#232;ne sociale ? Le luxe est-il une valeur ou un stigmate ? La querelle du luxe au si&#232;cle des Lumi&#232;res et ses prolongements au XIXe si&#232;cle.English versionThe methods of production, display, circulation, and consumption of luxury goods will be the subject of this conference. The aim is to raise questions about growing specialization in a trade devoted to precious objects which are designed to make people and their surroundings more attractive. Specialists from different backgrounds will deal with these questions from many chronological, spatial and disciplinary perspectives. Diverse acadenic fields will thus be represented, among them history, art and design history, economics, literature, sociology, etc. This interdisciplinary approach to the luxury market across a long period of time, from the Middle-Ages to the present day, will make it possible to contrast different experiences and underline continuities as well as changes. Luxury has often been discussed merely with reference to fine arts production. Here, in contrast, the objective is to reveal the richness and diversity of a phenomenon referred to as &#8216;luxury&#8217;, and the progressive emergence of specialized markets. Two specific approaches will thus be developed in the conference: on the one hand, a focus on people and goods, and on the other hand, a focus on points of sale and the material and symbolic power deriving from this particular sector of the economy. Indeed, luxury does not only derive from the methods and forms of the material economy; it is also a controversial value, a symbolically charged trade, a political argument, a religious controversy. These facets of luxury are either linked with or remote from the circuits of consumption, leading or following consumption practices. The papers, which may refer to French or foreign examples, should contribute to the following topics and perspectives: I Luxury markets, merchants and goods.     People (biographies, careers); middlemen, from producer to consumer (merchants, agents&#8230;); the professionalization of the sector, from workshop to specialized business (gallery owners, establishments selling luxury goods&#8230;).    The organization of the luxury trade (administrative and professional methods, regulations and constraints, etc); growing specialization and the division into different trade associations (producers/merchants); from craftsmanship to luxury industry, from shops selling luxury goods to brands, from commercial houses to holding companies, to the creation of luxury groups on a global scale (LVMH, PPR, Richemont, Prada&#8230;) to industrial techniques (mass advertising, etc); the globalization of the luxury market.     Raw materials and production; import and transformation; local know-how versus globalization; industrial techniques and processes; forms of subcontracting and delocalization; workers, technicians, industrialists, inventors of luxury and semi-luxury.     The democratization of luxury objects (copies, fakes, plating, counterfeits, secondhand, fake luxury, semi luxury); traffickers (forgers, conmen, secondhand dealers, merchants).     Categories of luxury: the notion of luxury goods across time, relativity of and fluctuations in the definition of luxury, levels of luxury (accessible, intermediate, prohibitive); case studies (jewellery, tapestry, clothing, watch-making, fine leather craft, car industry, wine, even services such as tourism or real estate).     The art market (painting, sculpture, engraving) and commercial art (semi-luxury); luxury and the fine arts; a picture&#8217;s trajectory from the studio to the museum.II The urban and architectural dimension of the luxury market.     Display, staging, promotion: the luxury market and architectural innovation.     The luxury business in urban space (streets, districts&#8230;); points of sale or storage and typical urban and social sites (shops, workshops, fairs, bridges, markets, salesrooms, galleries, biennials, society life, artists&#8217; associations, show rooms, megastores&#8230;); interactions between professional, technical, and socio-psychological constraints (maker&#8217;s labels, the image of a district).     Promotion through the media, different publicity strategies (trade cards, shop signs, the &#8216;Golden Triangle&#8217;, advertising, specialist magazines, journals sponsored by gallery-owners, the internet&#8230;).III The circulation and uses of luxury.     Socio-professional and geographical networks of the luxury market, from places of production to places of consumption; vertical relations (merchants, producers, wholesalers, industrialists, financiers, retailers&#8230;), and horizontal relations (networks of professional collaboration, from the local to the global), etc.    The interplay of size and territorial dynamism in the luxury market: which circuits for which goods (catchment areas)? The limits of the city, the region, the country; luxury goods, the dynamics of the local and global, etc.    The perpetuation, democratization, depreciation, reinvention of luxury; which sources account for the growing market, variations in the notion of luxury and the circulation of goods in society ? (luxury in the countryside, popular luxury&#8230;); mechanisms for the circulation of luxury, the relationships between imitation / invention / distinction: the relations between the evolution of luxury and the evolution of society. IV The intellectual economy of luxury    Conceptions and socio-political uses of luxury: from the private to the public sphere, visible and intimate luxury (royal and bourgeois households), ostentation (coaches, coats of arms, clothing&#8230;).     Multifaceted luxury in all its forms: munificence, extravagance, glory, and preciousness etc.     The luxury of others: in travel writing, utopias.     Luxury and its opponents: the reception and criticism of the development of luxury commerce; luxury - a cultural necessity or social plague? Is luxury good or bad? The luxury debate in the Enlightenment and its continuation into the 19th century. Modalit&#233;s pratiquesLes propositions de communication (format DOC ou RTF ; 600 mots) sont &#224; envoyer &#224; Alain Bonnet, ma&#238;tre de conf&#233;rences habilit&#233; d&#8217;histoire de l&#8217;art &#224; l&#8217;universit&#233; de Nantes et &#224; Natacha Coquery, professeur d&#8217;histoire &#224; l&#8217;universit&#233; de Lyon 2 :    alainjeanclaudebonnet@gmail.com     natacha.coquery@wanadoo.fr Le d&#233;lai pour l&#8217;envoi des propositions de communication est fix&#233; au 31 d&#233;cembre 2011.Comit&#233;sComit&#233; d&#8217;organisation LARHRAComit&#233; scientifique&#160;Il&#160;s&#233;lectionnera les propositions.     Marco BELFANTI, universit&#233; de Brescia     Bruno BLOND&#201;, universit&#233; d&#8217;Anvers     Alain BONNET, universit&#233; de Nantes     St&#233;phane CASTELLUCCIO, universit&#233; de Paris IV     Adeline COLLANGE, mus&#233;e des Beaux-Arts, Nantes     Natacha COQUERY, universit&#233; de Lyon 2     Damien COULON, universit&#233; de Strasbourg     Jean-Claude DAUMAS, Institut universitaire de France, universit&#233; de Besan&#231;on     Pascal JULIEN, universit&#233; de Toulouse     Yannick LEMARCHAND, universit&#233; de Nantes     Yann LIGNEREUX, universit&#233; de Nantes     Lesley MILLER, Victoria and Albert Museum     France NERLICH, universit&#233; de Tours     Maria-Anne PRIVAT-SAVIGNY, mus&#233;es Gadagne, Lyon     Pierre VERNUS, universit&#233; de Lyon 2     Patrick VERLEY, ex-universit&#233; de Gen&#232;ve 