Born in 1845 in Rouen, Jules Adeline, architect and illustrator, is recognized in the late nineteenth century for its multiple collections of graphic arts and Japanese but also for his home. In January 1874 in Paris etching, Richard Lesclide described the architect as "an exile who lives in Normandy in a workshop carved like a chest of the Renaissance. "Inspired by the discovery of the habitat of Flanders, the Adeline will transform their house at museum attempts and then claim it as home museum echoing the book published in 1881 by Edmond de Goncourt: The House of artist.

----
Session at the CONF: Amenagement interieur (Paris, 19 Mar 18)

AMENAGEMENT INTERIEUR ET COHABITATION DES STYLES
AUX EPOQUES MODERNE ET CONTEMPORAINE

Galerie Colbert, Salle Vasari
Lundi 19 mars 2018
9h30-17h - Entrée libre

Journée d'étude organisée par Claire Hendren, Barbara Jouves et Hadrien Viraben

This workshop proposes to question the usual manner and pragmatic fit in a domestic space objects that were originally not intended to meet, despite playing with them or dissimilarity.

If art history often puts us in the presence of decorative interiors where the harmony is designed according to the ideal of a "total work of art" that here is an opposite side that will exéminé. It is indeed to offer several reflections from unexpected and sometimes surprising parallels that can elicit heterogeneous sets of objects from nature and from different eras. This topic joins the history of taste and collections: he places in the heart of the debate practical need for a collector, dealer or particular, to compose an interior from disparate elements by their age, shape or use.

The summoned cases show the range of possibilities, some have chosen to associate their old furniture to modern art, other modern furniture to old works, or to mix different collections more widely typologies in same space, while suggesting the sake of the whole effect. Teeming and eclectic, these inner advocate as it organized disorder. Similarly, their components, and works of art, sometimes seen as sources of pleasure, sometimes considered with a more trivial purpose, are presented in constant mutation. They then become problematic for the historian who interpret consistently, often tempted to categorize and fix a one-way in time and space.

This day and for researchers who study part of receiving the articles and its impact on their perception, their use and history, as well as people interested in the layout of the space itself. This international and sub-national panorama of modern and contemporary is organized in four frames: the object, as part of internal heterogeneous or subject itself to different influences; the part, through the typical case of the library; the house as a whole; Finally, the image and its role in the public dissemination of these developments.