The Cottage Grove Fault System is an East-West trending system of strike slip faults within Southern Illinois that has been explored for mineral resources but never systematically examined for seismicity or seismic hazard. Due to its location between the seismically active Wabash Valley, Saint Genevieve, and the New Madrid Seismic Zones, and the prevalence of nearby structural features, this fault system merits its own systematic study. Using existing data from the EarthScope Transportable Array, seismic activity and implications for hazard are explored through microseismicity. Over a two-year period, the closest two seismometers to the CGFS were utilized to search for microseismicity along the fault. Analysis was done through visually assessing waveforms and frequency-amplitude plots, which can help differentiate mine blasts and earthquakes based on the frequency content of the waveform. During the 2-year deployment, a total of 94 seismic events were detected, with 5 previously unrecorded earthquakes located within the Cottage Grove Seismic Zone, although none were located on the main fault. The greatest magnitude of the Cottage Grove Fault System events found was an M_L 1.5 and the smallest an M_L 0.8. The methodology found all seismic events mb 2.3 or greater listed by the Center for Earthquake Research and Information (CERI) catalog, within a 150 km radius. Missed events from the CERI catalog were small and distant. Finding earthquakes near the Cottage Grove Fault System undetected by the CERI network demonstrates that the region has a degree of previously undetected seismic activity. Preliminary event detection is better explained by a b-value of 0.7 than a b-value of 1.0, suggesting current estimates of the hazard of the CGFS is underestimated.

Notre thèse présente et analyse la vie et l’œuvre de Ceri Richards (1903-1971), artiste peintre britannique d’origine galloise, dont l’art est profondément influencé par la musique. Mélomane et pianiste amateur, Richards développe son art de façon très indépendante et marque l’art britannique par une originalité commentée et appréciée des critiques d’art londoniens de son temps, « ce qui le [classe] comme l’un des plus grands parmi les peintres britanniques du milieu du XXe siècle » (Bénézit). C’est après la Seconde Guerre mondiale que les références musicales apparaissent avec plus d’importance dans son travail artistique dont la série des Cathédrales englouties (v. 1957-1967), inspirée du prélude éponyme de Claude Debussy, est unanimement reconnue.La première partie de la thèse est une biographie revue et augmentée de Ceri Richards en suivant le fil conducteur de la musique. Elle s’appuie sur des sources, notamment épistolaires, jamais dévoilées jusqu’à présent et des articles sur l’artiste non encore exploités.La troisième partie est un catalogue raisonné de l’œuvre de Ceri Richards en rapport avec la musique. Notre classement, aussi exhaustif que possible à ce jour, établit huit grandes thématiques : le piano et les pianistes, Claude Debussy, Ludwig van Beethoven, les décors et les costumes d’opéras, la musique dans la poésie, les illustrations réalisées pour une Histoire de la musique écrite par Benjamin Britten et Imogen Holst, les illustrations d’ouvrages non musicaux et enfin d’autres thématiques musicales diverses. Ce travail de recensement et de catalogage, le premier jamais réalisé, souligne l’étendue et la diversité de l’inspiration musicale de Ceri Richards. / My thesis dissertation presents and analyses the life and work of Ceri Richards (1903-1971), a British painter originally from Wales. His art is profoundly influenced by music. As a music lover and pianist, Richards was particularly appreciated by London critics of his time who “placed him as one of the highest ranking, mid-20th-century British Painter” (E. Bénézit, Dictionary of Artists, Paris, Gründ, 2006). After the Second World War, the musical references are much more visible and important in his painting. His Cathédrale engloutie series, which was inspired by the eponymous Prelude by Debussy, is unanimously praised.The first part of my thesis is a biography of Ceri Richards, based on the importance of the music in his life. It relies on sources, letters unknown until now and articles about the artist never before explored.The second part investigates two corpus: the first one inspired by Debussy’s Cathédrale engloutie and the second by Beethoven in a comparative analysis.The third part is a catalogue raisonné of the work in relation with music. The organisation is in eight thematics: piano and pianists, Claude Debussy, Ludwig van Beethoven, opera stage decor and costumes, music in the poetry, illustrations realised for The Story of Music written by Benjamin Britten and Imogen Holst, illustrations for books which are not musical and other diverse musical themes. This catalogue raisonné is the first one and shows the extent and diversity of Ceri Richards’s musical inspiration.