"D'ombres et de lumières - Le temps de l'innocence" est le premier volet du récit de la vie d'Antoni Nowak, acteur torturé à la recherche de sa vérité.Antoni débarque à Paris à l'orée de ses vingt ans avec des rêves de célébrité en tête. Se prenant à rêver qu'une vie unique l'attend, notre héros démarre une quête frénétique et désorganisée de l'amour. Convaincu d'être la victime d'un destin injuste, il choisit de devenir l'acteur d'une vie fantasmée, l'amenant sur le chemin de ses propres errements. Bientôt apprenti comédien, son obsession pour l'amour va l'emmener dans des sphères oniriques, avant que la réalité ne le rattrape et ne le conduise à se remettre en question pour enfin comprendre qui il est vraiment : le nouveau Messie venu souffler un vent d'amour sur Terre ou juste un homme cherchant à prendre sa revanche sur la vie ?

For nearly three centuries Leonardo da Vinci's work was known primarily through the abridged version of his Treatise on Painting, first published in Paris in 1651 and soon translated into all the major European languages. Here for the first time is a study that examines the historical reception of this vastly influential text. This collection charts the varied interpretations of Leonardo's ideas in French, Italian, Spanish, English, German, Dutch, Flemish, Greek, and Polish speaking environments where the Trattato was an important resource for the academic instruction of artists, one of the key sources drawn upon by art theorists, and widely read by a diverse network of artists, architects, biographers, natural philosophers, translators, astronomers, publishers, engineers, theologians, aristocrats, lawyers, politicians, entrepreneurs, and collectors. The cross-cultural approach employed here demonstrates that Leonardo's Treatise on Painting is an ideal case study through which to chart the institutionalization of art in Europe and beyond for 400 years. The volume includes original essays by scholars studying a wide variety of national and institutional settings. The coherence of the volume is established by the shared subject matter and interpretative aim: to understand how Leonardo's ideas were used. With its focus on the active reception of an important text overlooked in studies of the artist's solitary genius, the collection takes Leonardo studies to a new level of historical inquiry. Leonardo da Vinci's most significant contribution to Western art was his interpretation of painting as a science grounded in geometry and direct observation of nature. One of the most important questions to emerge from this study is, what enabled the same text to produce so many different styles of painting?

"How did art critics come to speak of light and dark as, respectively, "high in value" and "low in value." In this book, Henry Sayre traces the origins of this usage in one of art history's most famous and racially charged paintings, Manet's Olympia. Masterfully researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet's painting bears, and the presence of slavery at modernism's roots. Sayre shows that it was Émile Zola who introduced a new "law of values" to art criticism in an 1867 essay on Manet. Unpacking the intricate contexts of Zola's essay and of several related paintings of Manet, Sayre argues that Zola's use of the economic metaphor of "value" was doubly coded. On the one hand, it was a feint that deflected attention away from Olympia's actual subject and toward the painting's formal qualities. On the other, Sayre argues, "value" for Zola was a trope for the political economy of slavery and the Second Empire's complicity in the ongoing slave trade in the Americas. Value in Art is a surprising and necessary intervention in our understanding of modern art's emergence in relation to issues of race"--