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ArgumentaireTout au long du XVIIIe si&#232;cle, les expositions de l&#8217;Acad&#233;mie royale de peinture de Paris ont su cr&#233;er un habitus chez les visiteurs europ&#233;ens et parisiens en particulier. Plus encore, elles ont suscit&#233; la curiosit&#233; et l&#8217;envie du public de province et des autres nations, qui s&#8217;en sont inspir&#233;s. Pendant cette p&#233;riode, le Salon du Louvre devient l&#8217;un des &#233;v&#232;nements les plus courus o&#249; s&#8217;entassent des spectateurs venus voir, se faire voir et savoir, car il incarne sans contredit l&#8217;image du th&#233;&#226;tre social du Tout-Paris et, par ricochet, celui du plaisir des sens pour l&#8217;ensemble des publics cultiv&#233;s d&#8217;Europe. En d&#8217;autres mots, la visite du Salon ou de toute autre exposition d&#8217;art au XVIIIe si&#232;cle, o&#249; s&#8217;entrem&#234;lent la volont&#233; de se divertir et celle de s&#8217;instruire, se pr&#233;sente comme une exp&#233;rience o&#249; les diff&#233;rents sens sont sollicit&#233;s et en &#233;moi. Il est alors possible d&#8217;introduire la notion de &#171;&#160;corps sensoriel&#160;&#187; car non seulement la vue, mais encore l&#8217;ou&#239;e, le go&#251;t, le toucher et l&#8217;odorat sont interpel&#233;s de mani&#232;re vari&#233;e et complexe &#224; tout moment de la visite.Le colloque entend s&#8217;int&#233;resser aux sensations des visiteurs des expositions d&#8217;art entendues dans leur acception la plus large durant le long XVIIIe si&#232;cle (1665-1815). Si le point de d&#233;part est celui du Salon du Louvre devenant le mod&#232;le des expositions temporaires qui se multiplient &#224; Paris et en province, &#224; la Royal Academy de Londres et plus largement en Europe, les autres espaces de sociabilit&#233; o&#249; des &#339;uvres &#233;taient propos&#233;es au regard des spectateurs&#160;sont &#224; prendre en compte : galeries et cabinets priv&#233;s, collections royales, expositions temporaires, salles de ventes, mus&#233;es... S&#8217;inscrivant dans l&#8217;histoire des sensibilit&#233;s et des sens, le colloque entend ainsi contribuer &#224; d&#233;finir les nouvelles perceptions qui s&#8217;&#233;panouissent au Si&#232;cle des Lumi&#232;res en interrogeant l&#8217;exp&#233;rience du sensible et de la constitution du corps sensoriel dans le cadre sp&#233;cifique des espaces d&#8217;expositions.L&#8217;appr&#233;hension de ce corps sensoriel dans son ensemble induit la pr&#233;sence et l&#8217;incidence de plusieurs &#233;l&#233;ments qui jouent un r&#244;le essentiel dans sa constitution. Vue la richesse de la th&#233;matique li&#233;e &#224; l&#8217;exp&#233;rience sensorielle dans les expositions d&#8217;art au XVIIIe si&#232;cle, le colloque sera divisé en deux sessions qui auront lieu &#224; quelques mois d&#8217;intervalle et dans deux lieux diff&#233;rents.Session 1 L&#8217;exp&#233;rience de la visite&#160;: du spectateur au critiqueLa th&#233;matique choisie pour cette premi&#232;re session s&#8217;int&#233;resse &#224; l&#8217;exp&#233;rience sensorielle du public lors de la visite d&#8217;une exposition &#8211; que ce soit celle d&#8217;une collection, d&#8217;un mus&#233;e ou d&#8217;une pr&#233;sentation temporaire d&#8217;&#339;uvres. Si les expositions d&#8217;art en Europe au XVIIIe si&#232;cle participent &#224; l&#8217;identit&#233; urbaine, elles contribuent &#233;galement &#224; d&#233;finir l&#8217;identit&#233; du public, celle du spectateur et celle du critique. Il s&#8217;agira de tenter de cerner ce public, sa visite de l&#8217;exposition, l&#8217;exaltation de ses sens et l&#8217;&#233;mergence des sentiments qu&#8217;il d&#233;veloppe le long de son parcours et de sa rencontre avec les autres visiteurs, avec le lieu et avec l&#8217;exposition. Afin de favoriser l&#8217;&#233;tude comparative, les propositions de communication portant sur des espaces d&#8217;exposition diversifi&#233;s et des villes europ&#233;ennes vari&#233;es sont attendues autour des deux axes suivants&#160;:&#160;&#8211; Le public, s&#8217;incarnant dans l&#8217;individu ou le groupe d&#8217;individus qui visite l&#8217;exposition, s&#8217;investit dans l&#8217;activit&#233; et appr&#233;hende les effets &#233;motionnels, sensibles et corporels qui s&#8217;expriment tout au long de l&#8217;exp&#233;rience de la visite de l&#8217;exposition. La pr&#233;sence des autres visiteurs, cette foule plus ou moins bigarr&#233;e qui implique un corps-&#224;-corps perp&#233;tuel, ainsi que la vue de l&#8217;exposition jouent un r&#244;le central sur les sens, la sensibilit&#233; et le corps de chacun des visiteurs ; nul ne peut faire abstraction de ces &#233;l&#233;ments lors de sa visite. Au sein de ce public, les auteurs des &#233;crits qui paraissent &#224; l&#8217;&#233;poque des expositions relatent ces exp&#233;riences, les qualifient et les th&#233;orisent. Outre le fait d&#8217;&#234;tre une source pr&#233;cieuse, la critique d&#8217;art devient alors objet de recherche. En d&#8217;autres mots, de quelle mani&#232;re les sensations, les &#233;motions et les sentiments ressentis par les auteurs stimulent-ils le genre lui-m&#234;me et le transforment ? La r&#233;alit&#233; et l&#8217;exp&#233;rience sensorielle du visiteur ne sont pas n&#233;cessairement les m&#234;mes &#224; Paris qu&#8217;ailleurs en Europe&#160;: quelle est la teneur de ces diff&#233;rences et d&#8217;&#233;ventuels points de jonction ?&#8211; L&#8217;espace et l&#8217;exposition, c&#8217;est-&#224;-dire l&#8217;environnement imm&#233;diat, le parcours expographique, mais aussi le territoire g&#233;ographique avec lesquels l&#8217;individu et ses sens entrent en relation, jouent un r&#244;le central dans l&#8217;exp&#233;rience du corps sensoriel du spectateur. En instituant des stimuli, ils provoquent des sensations et une activit&#233; cognitive intense et sp&#233;cifique. Quels effets provoquent les dimensions du lieu, les d&#233;placements du corps, la rencontre avec les &#339;uvres et le discours expographique, l&#8217;&#233;clairage ainsi que les aspects symboliques de l&#8217;espace sur l&#8217;exp&#233;rience sensorielle du visiteur, autant dans son appr&#233;hension, que lors de la visite de l&#8217;exposition ? On s&#8217;int&#233;ressera par cons&#233;quent aux diff&#233;rents affects et effets que catalyse cette exp&#233;rience sur chacun des sens, chacune des sensations et &#233;motions qui habitent le spectateur durant et au-del&#224; de la visite. On pourra s&#8217;interroger sur les diff&#233;rents modes d&#8217;accrochage et se demander en quelle mesure ils ont une incidence sur les sensations du visiteur, sur sa perception, ses sentiments, de quelque nature qu&#8217;ils soient, et sur l&#8217;&#233;volution et la constitution de sa sensibilit&#233;, de son corps sensible. Quel r&#244;le jouent les aspects symbolique et physique de l&#8217;espace dans cette exp&#233;rience ? De quelle mani&#232;re ces effets se traduisent-ils &#224; travers les &#233;crits ?Session 2 L&#8217;exp&#233;rience de l&#8217;&#339;uvre&#160;: des &#233;motions aux sensationsLa th&#233;matique choisie pour cette seconde session se veut un lieu de r&#233;flexion sur la repr&#233;sentation des &#233;motions, des corps sensuels, sensibles et physiques, et des cinq sens dans les &#339;uvres, ainsi que sur la r&#233;ception de ces &#233;l&#233;ments lorsque les &#339;uvres sont pr&#233;sent&#233;es publiquement au sein d&#8217;espaces d&#8217;exposition dans l&#8217;Europe du XVIIIe si&#232;cle.Il s&#8217;agit d&#8217;&#233;tudier comment les artistes expriment leur perception du sensible et du sensoriel, et comment les sens du spectateur r&#233;agissent &#224; la vue des &#339;uvres. Dans cette perspective, on prendra en compte tous les types d&#8217;&#339;uvres relevant des Beaux-Arts (peinture, sculpture, dessin, gravure) et de sujets relevant des diff&#233;rents genres (histoire, portrait, sc&#232;ne de genre, paysage, nature morte). Pour cette session, les propositions de communications sont attendues autour de deux axes&#160;:&#8211; Les &#339;uvres, ces modes de repr&#233;sentation plastique des sentiments et du sensoriel, &#233;voquent la sensibilit&#233; de l&#8217;artiste tout comme celle de l&#8217;&#234;tre humain. Selon quels crit&#232;res th&#233;oriques et pratiques les artistes ont-ils traduit le spectre des &#233;motions, mais &#233;galement celui des perceptions sensorielles &#224; travers le corps repr&#233;sent&#233;, sa gestuelle, ses caract&#232;res ou sa mise en sc&#232;ne&#160;? On pense &#233;videmment aux r&#232;gles r&#233;gissant la repr&#233;sentation des passions comme celles de l&#8217;&#171;&#160;ut pictura poesis&#160;&#187;, mais surtout aux tentatives de renouvellement de celles-ci au cours du XVIIIe si&#232;cle. Il ne s&#8217;agit pas seulement de revenir sur les interactions entre mise en sc&#232;ne th&#233;&#226;trale et composition picturale, mais &#233;galement d&#8217;explorer toutes les composantes de la mimesis,&#160;commune aux Beaux-Arts et aux arts du spectacle,&#160;afin de renforcer la d&#233;lectation sensorielle et sensible de l&#8217;art : expression, gestuelle, costume, d&#233;cor, coloris.&#8211; Les sens, (re)li&#233;s aux organes de la perception (vue, go&#251;t, ou&#239;e, odorat et toucher), se d&#233;finissent et r&#233;agissent au contact du lieu, de l&#8217;exposition, des autres individus et des &#339;uvres. Il s&#8217;agit ici de comprendre de quelle mani&#232;re les sens du spectateur appr&#233;hendent, per&#231;oivent &#8211; voire ressentent &#8211; la rencontre avec une &#339;uvre particuli&#232;re ou avec l&#8217;ensemble. Selon quels crit&#232;res, la perception sensorielle s&#8217;arr&#234;te-t-elle au niveau de l&#8217;analyse et du raisonnement&#160;? Quand et comment cette exp&#233;rience conduit-elle &#224; une r&#233;action v&#233;cue, qu&#8217;elle soit de l&#8217;ordre du sensible, du sensoriel ou du physique&#160;? On sait qu&#8217;au XVIIIe si&#232;cle, la r&#233;flexion sur la perception et la cognition se traduit par de nombreuses publications touchant &#224; la philosophie sensualiste, la physiologie, la physiognomonie. Comment ces apports nouveaux relevant de l&#8217;histoire de la m&#233;decine, des sciences et des techniques ont-ils &#233;t&#233; pris en compte par les artistes et de quelle mani&#232;re les traduisent-ils dans leurs &#339;uvres&#160;?Cet axe explorera les fronti&#232;res entre l&#8217;exp&#233;rience de chacun des sens et les relations qui &#233;mergent entre eux afin de dresser un portrait de l&#8217;ensemble des sensations et des sentiments provoqu&#233;es par des &#339;uvres pr&#233;cises, et notamment par celles repr&#233;sentant les sentiments, les &#233;motions et les allusions aux sens. Dans cet axe, on privil&#233;giera les propositions s&#8217;appuyant sur des sources issues de domaines vari&#233;s (histoire, litt&#233;rature, philosophie, mais aussi sciences et m&#233;decine) afin de renouveler la r&#233;flexion sur le ph&#233;nom&#232;ne des expositions.CalendrierLes propositions de communication originale en fran&#231;ais ou en anglais (titre et r&#233;sum&#233; de 300 mots et bref CV de 250 mots) devront &#234;tre envoy&#233;es au comit&#233;avant le 15 d&#233;cembre 2019&#224; l&#8217;adresse suivante : corps.sensoriel@gmail.comR&#233;ponse du comit&#233; scientifique&#160;: janvier 2020Tenue des colloques&#160;: automne 2020 et printemps 2021Une s&#233;lection des communications fera l&#8217;objet d&#8217;une publication.Comit&#233; scientifiqueMarkus A. Castor (Centre allemand d&#8217;histoire de l&#8217;art, Paris)Guillaume Faroult (Mus&#233;e du Louvre, D&#233;partement des Peintures)Dorit Kluge (hwtk, Berlin)Ga&#235;tane Ma&#235;s (Universit&#233; de Lille, IRHiS-UMR 8529)Fran&#231;oise Mardrus (Mus&#233;e du Louvre, Centre Dominique-Vivant Denon, Direction de la recherche et des collections)Isabelle Pichet (UQTR, Qu&#233;bec)Luc Piralla (Mus&#233;e du Louvre-Lens)Louvre Museum, Paris, Autumn 2020 and Louvre-Lens Museum, Spring 2021ArgumentThroughout the 18th century, the exhibitions of the Royal Academy of Painting in Paris &#8211; by setting the horizon of expectation &#8211; have created a habitus among European visitors and especially Parisians. Moreover, they have aroused the curiosity and the desire of the French public and of other nations who where inspired by the Salon. During this period, the Salon du Louvre became a highly popular event, where crowds gathered to see, be seen and to learn. Hence, the Salon embodied without any doubt the image of the Parisian social theatre and thus also indirectly that of the pleasure of the senses for educated European audiences. In other words, visiting the Salon or any other art exhibition in the 18th century, where the desire to be entertained and to learn was intertwined, presented itself as an experience in which the various senses were invoked and stimulated. The notion of &#8220;sensory body&#8221; becomes relevant: not only sight, but also the senses of hearing, taste, touch and smell were interpolated in a varied and complex manner at various moments during the visit.The conference will focus on the sensations that visitors felt during their experience of art exhibitions. The latter are to be understood in their broadest sense during the long 18th century (1665-1815). The starting point is the moment when the Salon du Louvre became the role model for a growing number of temporary exhibitions, in Paris and in French provinces, at the Royal Academy in London, and, more broadly in Europe. All other spaces of sociability where works of art were subjected to the critical gaze of the public must be taken into account: galleries and private art collections, royal collections, temporary exhibitions, auction rooms, museums&#8230; In the context of research about the history of sensibilities and senses, this conference thus aims at defining the new perceptions that flourish in the Age of Enlightenment by questioning the sensory experience and the constitution of the sensory body in the specific context of exhibition spaces.The understanding of this sensory body in its entirety implicates numerous elements that play an essential role in its constitution. Given the richness of the topic related to the sensory experience in 18th century art exhibitions, the conference will be divided into two sessions that will take place a few months apart, and in two different locations.Session 1 The experience of the visit: from spectator to criticThis first session focuses on the sensory experience of the public when visiting an exhibition - whether it is a collection, a museum, or a temporary presentation of works of art. While 18th century art exhibitions in Europe contributed to urban identity, they also helped to define the identity of the larger public, as well as the single spectator, and the critic. It will be a question of capturing these actors, their visits to exhibitions, their sensory impressions, and the emergence of feelings as they developed along an exhibition tour, likewise further encounters with other visitors, with the spatial context and display of art. In order to encourage comparative research, we call for proposals on various exhibition spaces in various European cities, relating to the following two axes:- The public, an individual or a group of individuals visiting the exhibition, engaged in the activity and experiences emotional, sensory and physical effects during the whole visit of the exhibition. The presence of other visitors, this more or less colourful crowd that implied a perpetual body interaction, as well as the view of the exhibition played a central role on the senses, the sensitivity and the body of each visitor. Within this audience, the writers that appear at the time of the exhibitions related these experiences to their readers, qualifying and theorizing them. Art criticism is thus no longer simply a primary source for art history, the history of the senses, and questions of reception, but becomes also a research subject by itself. How, in other words, did the sensations, emotions and feelings experienced by critics stimulate and transform art criticism itself? The reality and the sensory experience of the visitor are not necessarily the same in Paris as elsewhere in Europe: Hence, we would like to discover and understand these differences and similarities.- The space and the exhibition, meaning the immediate environment, the exhibition design, but also the geographical territory with which the individual and its senses are engaged, play a central role in the experience of the spectator&#8217;s sensory body. By providing stimuli, they cause sensations and an intense and specific cognitive activity. What kind of effects did the dimensions of the room(s), the movements of the body in the space, the encounter with the art and the exhibition design, the lighting as well as the symbolic aspects of the space have on visitors&#8217; sensory experiences, both in their expectation and during the visit of the exhibition? We will therefore focus on the different affects and effects that this experience catalyzed for each of the senses, sensations, and emotions that inhabited the spectator during and beyond the visit. An experience that is constituting an important part of the horizon of expectation for exhibitions. We can ask ourselves about the different approaches to installation and hanging, but also about the extent to which these approaches had an impact on visitors&#8217; sensations, their perceptions, and their feelings, whatever nature they are, and on the evolution and constitution of their sensibility, of their sensitive body. What role do the symbolic and physical aspects of space play in this experience? How are these effects translated through the written word?Session 2 The experience of the work of art: from emotion to sensationThe second session is intended to invite reflection on the representation of emotions and human sensorium as well as on the reception of these elements when works of art were exhibited publicly in 18th century Europe.The objective is to study how artists express their perception of the sensitive and the sensory, and how the spectator&#8217;s senses react while looking at the works. We will take into account all aspects of the Fine Arts (painting, sculpture, drawing, engraving) and consider also different genres (history, portrait, genre scene, landscape, still life). For this session, we call for proposals around two axes:- The works, these modes of representation of feelings and the sensory, evoke the sensitivity of the artist as well as that of the human being in general. According to what theoretical and practical criteria did artists translate the spectrum of emotions, but also that of sensory perceptions through the represented body, its gestures, its personality traits or its staging? We are obviously thinking of the rules governing the representation of passions such as those of the "ut pictura poesis", but especially of the attempts to renew them during the 18th century. It is not only a question of revisiting the interactions between theatrical staging and pictorial composition, but also of exploring all the components of mimesis, that is common to the Fine Arts and the performing arts, in order to reinforce the sensory and sensitive delight of art: expression, gestures, costume, decor, colour.&#160;- The senses, (inter)linked with the organs of perception (sight, taste, hearing, smell and touch), are defined by and react to the contact with context, the exhibition as a whole, other individuals, and specific works of art. We would like to understand how the spectator&#8217;s senses apprehend, perceive &#8211; or even feel &#8211; the encounter with a particular work or with the ensemble of works. According to which criteria does sensory perception stop at the level of analysis and reasoning? When and how does this experience lead to a true reaction, whether it is sensitive, sensory or physical? We know that in the 18th century, the research on perception and cognition led to numerous publications on sensualist philosophy, physiology and physiognomy. How did artists consider these new contributions to the history of medicine, science and technology, and how did they translate them within their works?This axis will explore the boundaries between the experience of each of the senses and the relationships that emerge between them in order to get an overall picture of all the sensations and feelings provoked by specific works, particularly by those representing feelings, emotions and allusions to the senses. In this axis, priority will be given to proposals based on sources from various fields (history, literature, philosophy, but also science and medicine) in order to renew the reflection on the phenomenon of exhibitions.ScheduleProposals for original contributions in English or French (title and abstract of up to 300 words and short CV of up to 250 words) should be sentby 15 December 2019to the following address: corps.sensoriel@gmail.comResponse from the Scientific Committee&#160; January 2020Conference dates: Autumn 2020 and Spring 2021Selected papers will be published after the conference.Scientific CommitteeMarkus A. Castor (German Center for Art History, Paris)Guillaume Faroult (Louvre Museum, Painting Department)Dorit Kluge (hwtk, Berlin)Ga&#235;tane Ma&#235;s (Universit&#233; de Lille, IRHiS)Fran&#231;oise Mardrus (Louvre Museum, Dominique-Vivant Denon Center, Research and Collection Director)Isabelle Pichet (UQTR, Qu&#233;bec)Luc Piralla (Louvre-Lens Museum)