"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?

This "Liber Amicorum" is published at the occasion of Judge Lucius Caflisch's retirement from a distinguished teaching career at the Graduate Institute of International Studies of Geneva, where he served as Professor of International Law for more than three decades, and where he has also held the position of Director. It was written by his colleagues and friends, from the European Court of Human Rights, from universities all around the world, from the Swiss Foreign Affairs Ministry and many other national and international institutions. The "Liber Amicorum Lucius Caflisch" covers different fields in which Judge Caflisch has excelled in his various capacities, as scholar, representative of Switzerland in international conferences, legal adviser of the Swiss Foreign Affairs Ministry, counsel, registrar, arbitrator and judge. This collective work is divided into three main sections. The first section examines questions concerning human rights and international humanitarian law. The second section is devoted to the international law of spaces, including matters regarding the law of the sea, international waterways, Antarctica, and boundary and territorial issues. The third section addresses issues related to the peaceful settlement of disputes, both generally and with regard to any particular means of settlement. The contributions are in both English and French.

Frederick Horsman Varley was unique among the members of the Group of Seven. One of the greatest Canadian portraitists of the twentieth century, he is an intriguing example of an artist who, despite his fame as a portrait painter, remains better known for his landscapes. This is due mainly to his position as one of the founding members of the Group of Seven and their deliberate attempt to raise awareness of our national identity by depicting the Canadian landscape. Even though many public collections across the country, including the National Gallery of Canada, the Art Gallery of Ontario, and the Vancouver Art Gallery, display some of Varley’s best-known portraits, these works do not easily fit into the conventional mould of the Group of Seven. Nearly four decades after his death, Varley’s portraits are still not fully acknowledged. The release of this beautifully illustrated bilingual volume coincides with the opening of an unprecedented exhibition of his portraiture.