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Titre : Gazette des beaux-arts : courrier européen de l'art et de la curiosité
Éditeur : Gazette des beaux-arts (Paris)
Éditeur : G. WildensteinG. Wildenstein (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (Paris)
Date d'édition : 1930-01-01
Contributeur : Blanc, Charles (1813-1882). Directeur de publication
Contributeur : Reinach, Théodore (1860-1928). Directeur de publication
Contributeur : Wildenstein, Georges (1892-1963). Directeur de publication
Contributeur : Wildenstein, Daniel (1917-2001). Directeur de publication
Notice du catalogue : http://catalogue.bnf.fr/ark:/12148/cb343486585
Notice du catalogue : https://gallica.bnf.fr/ark:/12148/cb343486585/date
Type : texte
Type : publication en série imprimée
Langue : français
Format : Nombre total de vues : 86102
Description : 01 janvier 1930
Description : 1930/01/01 (A72,T3)-1930/06/30.
Description : Collection numérique : Originaux conservés à l'INHA
Droits : Consultable en ligne
Droits : Public domain
Identifiant : ark:/12148/bpt6k61119501
Source : Bibliothèque nationale de France
Conservation numérique : Bibliothèque nationale de France
Date de mise en ligne : 01/12/2010
Le texte affiché peut comporter un certain nombre d'erreurs. En effet, le mode texte de ce document a été généré de façon automatique par un programme de reconnaissance optique de caractères (OCR). Le taux de reconnaissance estimé pour ce document est de 97%.
ENGLISH SUMMARY
MOHAMMEDAN ART IN ALGERIA
by M. GEORGES MARÇAIS
Directeur du musée de Mustapha
There was not during the MahommedanTTÏ 1,
! ' j
middle âges, any more than in ancicnt times, a ,!; really Algerian art. Moreover, the very name of Algeria was at that time but a meaningless ' expression. The Iroutiers of the kingdoms of 'Tiares, Bougie and 'Tlemcen do not coïncide with those on our modem maps. Still less can it be said that Africa is a country, which procluced an unique art of its own.
The connection between earlv Mohammedan art and Christian art, the mingling of imported forms with local traditions, are expressed in the fragments excavated at Sédrata near Ouargla.
Scarcely a century after Sédrata, Mohammedan art seems to be Ireed Irom the Roman traditions, which made it more similar to ours. In Algeria there are traces of this revival; of the Fatimides nothing remains, but there is évidence of the activitiesof the Çanhaja Emirs. LikeAchir, their first entrenchement, which is situated to the South West of Algiers, the Qal'a (citadel) of the Benni llamma:!, founded about A.D. 1007, is a city in the moutains and dominâtes from far away the Hodna valley, to the South of Bougie. In 1908, General de Beylié started excavations there. The biggest of the palaces, 67 mètres wicle, includes a principal portion, the Dàr-elBalir, and a somewhat irregular collection of small buildings, dwellings, storehouses and tanks, no doubt with gardens between them. The texts mention cupolas crowning the édifice and we imagine them as hemispherical dômes, as can be seen i.i the Sicilian churches, San
Cataldo or St John of the Flermits. The transmission of the Sassanide forms can be clearly seen in thèse Berber productions.
The invasion by the Hilalian Arabs ruined for ever eastern Berberia; from that time on, ail the interest is transferred to the Maghreb. Western Berberia, especially from the n" 1 century, was delinitelv an artistic province of Spain; it came into its part of the inheritance lelt by the Omeiyades Califs of the 10" 1 century; the grand mosque at Cordoue remains an incomparable mode], which mav well serve as a basis for ail the sanctuaries of western Mahommedans. Ibn Tachfin the first of the Almoravides, had the Grande Mosquée constructed at Algiers in 1096.
Algiers is not the only town in Algeria in which the Almoravides hâve lelt traces ol their pious activity. There is also at Tlemcen a grand mosque, built in 1136.
The oratory of Sidi bel Hassen, now transformed into a muséum, is a small mosque, built in 1296, and can undoubtedly be justly compared to the fïnest work of the Alhambra.
After the middle of the 14"' century Maghrébin art begins to lose its vitality and to repeat itscll. Ol the 15"' century there is nothing in Algeria worth mentioning. Owing to the arrival of the Turks at the beginning of the 16" 1 century, Mohammedan artists followed other lincs and produced works of mueh less value. Most of thèse are at Algiers. Only the private dwellings, in spite of the mediocrity of their décoration, form an interesting study for the artist.
THE igth CENTURY PAINTERS OF ALGERIA
by M. JEAN ALAZARD
Directeur du Musée d'Alger
When in 1830 French public opinion was suddeniy drawn to the Algerian question, the picturesqueness ol the Fast had already been
fashionable for some years. The journeys of Champmartin (1827) and Decamps (1828) in Asia had helpcd to excite the curiosity of artists.