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pdf:docinfo:title: Le Tigre, le Louvre et l?échange de connaissances archéologiques visuelles entre la France et la Grande-Bretagne aux alentours de 1850
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subject: En Mésopotamie au milieu des années 1850, des sculptures assyriennes découvertes par la délégation française ont disparu dans le Tigre. Il n?en est resté qu?un ensemble de dessins faits par l?artiste britannique William Boutcher durant l?expédition anglaise. Les Français, quant à eux, étaient en possession de photographies de fragments archéologiques en provenance de Ninive, perdus par les Britanniques. Dans le cadre de l?histoire de l?archéologie en Mésopotamie, cet article va tenter de retracer l?état des relations franco-britanniques dans le contexte particulier d?échanges et d?utilisation des images. Images qui deviennent le support d?une histoire de rivalité, de dépendance réciproque, de perte et de contrôle des trouvailles.When in the mid 1850s Assyrian sculptures excavated by a French delegation got lost in the river Tigris all what remained was a set of drawings that the London artist William Boutcher had made during a British expedition in Mesopotamia. In return, the French were in the possession of photographs of fragments from Nineveh that were lost by the British. This essay will re-examine British-Franco relations in the history of archaeology in Mesopotamia against the backdrop of the use and exchange of images, which became the only and major records in a story of rivalry, dependence, loss of objects and control. Not only did objects and images wonder between the two countries, but also new visual recording techniques such as photography, which were not necessarily deployed in the country of their « origin », but across the channel \(Manche\).
dc:creator: Mirjam Brusius
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title: Le Tigre, le Louvre et l?échange de connaissances archéologiques visuelles entre la France et la Grande-Bretagne aux alentours de 1850
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dc:title: Le Tigre, le Louvre et l?échange de connaissances archéologiques visuelles entre la France et la Grande-Bretagne aux alentours de 1850
modified: 2019-04-20T05:02:04Z
cp:subject: En Mésopotamie au milieu des années 1850, des sculptures assyriennes découvertes par la délégation française ont disparu dans le Tigre. Il n?en est resté qu?un ensemble de dessins faits par l?artiste britannique William Boutcher durant l?expédition anglaise. Les Français, quant à eux, étaient en possession de photographies de fragments archéologiques en provenance de Ninive, perdus par les Britanniques. Dans le cadre de l?histoire de l?archéologie en Mésopotamie, cet article va tenter de retracer l?état des relations franco-britanniques dans le contexte particulier d?échanges et d?utilisation des images. Images qui deviennent le support d?une histoire de rivalité, de dépendance réciproque, de perte et de contrôle des trouvailles.When in the mid 1850s Assyrian sculptures excavated by a French delegation got lost in the river Tigris all what remained was a set of drawings that the London artist William Boutcher had made during a British expedition in Mesopotamia. In return, the French were in the possession of photographs of fragments from Nineveh that were lost by the British. This essay will re-examine British-Franco relations in the history of archaeology in Mesopotamia against the backdrop of the use and exchange of images, which became the only and major records in a story of rivalry, dependence, loss of objects and control. Not only did objects and images wonder between the two countries, but also new visual recording techniques such as photography, which were not necessarily deployed in the country of their « origin », but across the channel \(Manche\).
pdf:docinfo:subject: En Mésopotamie au milieu des années 1850, des sculptures assyriennes découvertes par la délégation française ont disparu dans le Tigre. Il n?en est resté qu?un ensemble de dessins faits par l?artiste britannique William Boutcher durant l?expédition anglaise. Les Français, quant à eux, étaient en possession de photographies de fragments archéologiques en provenance de Ninive, perdus par les Britanniques. Dans le cadre de l?histoire de l?archéologie en Mésopotamie, cet article va tenter de retracer l?état des relations franco-britanniques dans le contexte particulier d?échanges et d?utilisation des images. Images qui deviennent le support d?une histoire de rivalité, de dépendance réciproque, de perte et de contrôle des trouvailles.When in the mid 1850s Assyrian sculptures excavated by a French delegation got lost in the river Tigris all what remained was a set of drawings that the London artist William Boutcher had made during a British expedition in Mesopotamia. In return, the French were in the possession of photographs of fragments from Nineveh that were lost by the British. This essay will re-examine British-Franco relations in the history of archaeology in Mesopotamia against the backdrop of the use and exchange of images, which became the only and major records in a story of rivalry, dependence, loss of objects and control. Not only did objects and images wonder between the two countries, but also new visual recording techniques such as photography, which were not necessarily deployed in the country of their « origin », but across the channel \(Manche\).
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