Sculpture, printmaking and photography are essentially multiple, often experiencing many prints as much as all three stem from a matrix that can be changed and give rise to significant variations. Complex objects, they hold both of the original work, interpretation or copying; in this they often confuse lovers and art historians attached to the study of other art forms. They ask specific questions of the rest. Their multi-purpose character does not mask their own characteristics.
Tool and fundamental genre of art history, the catalog has recently been a number of studies. While the paintings and drawings catalogs are the first to have benefited from this research, for "multiple", the field is still little discussed, because of the difficulties posed by the very nature of the objects concerned.

What are the first catalogs multiple objects, how were they treated these objects, compared to unique items, what were the first editors and first uses? What challenges and what choices for catalogs of this type, even today?

Scientific Committee:

Claire Barbillon (University of Poitiers), Véronique Meyer (University of Poitiers), Sylvie Aubenas (National Library of France), Cecilia Hurley Griener (École du Louvre), Valerie Sweat-Hermel (National Library of France), Pierre Wachenheim (University Lorraine), and Anne-Élisabeth Buxtorf (Library INHA)

28, 29 and September 30, 2015
Auditorium Colbert Gallery
Free admission, limited seating available
2, rue
Vivienne, 75002 Paris