A Guerra Civil Espanhola (1936-1939) foi o primeiro conflito do século XX sistematicamente fotografado, essas imagens produzidas por diversos fotógrafos foram divulgadas através de revistas ilustradas. Essa pesquisa teve como objetivo analisar a fotografia como documento a partir das imagens de Robert Capa e Gerda Taro durante o conflito espanhol e publicadas nas revistas ilustradas Vu, Life e Picture Post e no livro Death in the making, buscando trabalhar as imagens pelos seus aspectos formais, comparando as formas de veiculação e produção de narrativas nas revistas ilustradas produzidas pelos editores e pelos fotógrafos no livro. Por fim, essa comparação busca refletir sobre as fotografias como formas de expressar a experiência da guerra e sobre que tipo de narrativa elas produzem. / The Spanish Civil War (1936-1939) was the first conflict of the twentieth century systematically photographed, these images produced by several photographers were disseminated through illustrated magazines. This research aimed to analyze photography as a document starting for the images produced by Robert Capa and Gerda Taro during the Spanish conflict and published in the illustrated magazines Vu, Life and Picture Post and in the book Death in the making, seeking to work the images by their formal aspects. And comparing their ways to convey and produce of narratives in the illustrated magazines produced by publishers or photographers in the book. Finally, this comparison seeks to reflect on the photographs as ways of expressing the experience of war and on what kind of narrative they produce.

Entre les années 1600 et 1750 au Japon, de nombreux manuscrits enluminés (Nara ehon et Nara emaki) ont été produits. Ils ont néanmoins fait l’objet d’assez peu de recherches. Cette thèse aborde ce genre en trois temps, à travers l’étude d’un récit, le « Récit de Bunshô » (Bunshô sôshi). Nous considérons d’abord le processus d’élaboration de ces œuvres. Peints par des artisans anonymes, les rouleaux et les codex enluminés sont parfois signés de leur calligraphe ou portent un sceau de boutique. Travaillant pour des boutiques concurrentes, calligraphes et peintres ne forment pas véritablement avec ces dernières un atelier. Les boutiques peuvent également agir comme les maîtres d’œuvre en coordonnant les peintres et les calligraphes. Il a été souvent dit que les rouleaux et les codex enluminés ont été élaborés pour faire partie de trousseaux de mariage (yomeiri-bon). En confrontant les sources historiques aux œuvres conservées, nous soulignons, dans la seconde partie, que cette affirmation est loin de se vérifier. Enfin, nous consacrons un développement à l’évolution de l’iconographie du Bunshô sôshi. Histoire de l’élévation sociale d’un saunier et romance amoureuse entre la fille de ce dernier et un aristocrate, le Bunshô sôshi comporte des scènes problématiques du point de vue de l’échelle sociale. Ces manuscrits comportent également des images spécifiques représentant le jeune héros aristocrate comme un personnage androgyne (wakashu), en combinaison avec des compositions génériques qui rappellent d’autres récits.Ce travail constitue une première synthèse des recherches sur ces rouleaux et livres enluminés en français. / In the years between 1600 and 1750 AC, many anonymous illuminated handscrolls and manuscripts were produced in Japan, which are now collected under the name of Nara Ehon and Nara Emaki. Although they are very numerous, very few is known about them. This study is focused on those related to the tale of Bunshô (Bunshô sôshi) and proceeds in three steps.First, it examines the making process of these scrolls and manuscripts. Although the painters remained anonymous, a calligrapher's signature or the seal of a painting shop can sometimes be found. Calligrapher and painters could be working for several rival shops. Painting shops did not only sell painted scrolls or illuminated manuscripts, but worked the connections between the calligrapher and the painters as well.Then, our study reconsiders the place of illuminated scrolls and manuscripts in marriages' dowries, called yomeiri-bon. From what we know about marriages through historical sources and the surviving illuminated manuscripts, it can be stressed that very few manuscripts can be considered as yomeiri-bon.Finally, an analysis of Bunshô Sôshi's iconography throughout the years says a lot about how this tale was understood. As it tells about social ascension and how a saltmaker's daughter and an aristocrat lived a romance together, there is in this tale some problematic scenes, where the social scale is turned upside down. Also, specific compositions with an androgenic character (wakashu) as the hero are employed with more generic compositions echoing other stories as well.The present study represents a first extensive summary in French about those illuminated manuscripts.

Cette thèse retrace les parcours croisés de deux éditeurs de presse : Lucien Vogel (1886-1954) et de Michel de Brunhoff (1892-1958). Après La Gazette du bon ton en 1912, les deux beaux-frères lancent Vogue français et le Jardin des modes en 1920. Ces revues, qui accordent une place majeure à l'illustration, contribuent à moderniser radicalement la presse féminine. Le parcours éditorial de Vogel et de Brunhoff, centré autour de la presse féminine. La presse d'art (Feuillets d'Art, Arts et métiers graphiques) et la mode, est semblable jusqu'à la fin des années 1920 avant de diverger en 1928 lorsque Vogel fonde le magazine photographique Vu. À partir de cette période, alors que Brunhoff reste attaché à la réalisation de magazines de mode, Vogel s'engage sur la voie de la politique, défendant avec Le Petit Journal, Marianne et Messidor, des idées de gauche et un antifascisme prononcé. Afin d'appréhender l'itinéraire général de Lucien Vogel et de Michel de Brunhoff tout en en saisissant les singularités - leur rôle dans le renouvellement de la presse féminine, leur intérêt pour les questions techniques liées à l'illustration ainsi que les choix opérés par Vogel en 1930 -, c'est une étude chronologique et comparée que cette thèse a entreprise. En grande partie biographique, afin de mettre en lumière la personnalité et le parcours de Vogel et de Brunhoff de leurs débuts professionnels à leur fin de carrière, cette réflexion se veut aussi une contribution plus générale à l’histoire culturelle, à l'histoire de la presse illustrée, et celle de la presse féminine du début du XXe siècle dans laquelle ces éditeurs ont laissé l'image d'innovateurs de presse et d'éditeurs esthètes. / This thesis recounts the crossed career paths of two publishers : Lucien Vogel (1886-1954) and Michel de Brunhoff (1892-1958). After La Gazette du bon ton launched in 1912, the two brothers-in-law published French Vogue and Le Jardin des modes in 1920. These three journals, which give a major role to the illustration, contribute to radically modernize women's magazines. The editorial career of Vogel and de Brunhoff, centered around women's magazines, art press (Feuillets d'Art, Arts et métiers graphiques) and fashion is similar to the late 1920s before diverging in 1928 when Vogel founded the photography magazine Vu. From this period, while Brunhoff remains committed to achieving fashion magazines, Vogel is committed towards politics, defending with Le Petit Journal, Marianne and Messidor, leftist ideas and a pronounced anti-fascism. To understand the general career of Lucien Vogel and Michel de Brunhoff while understanding its singularities - their role in the renewal of women's magazines, their interest in technical issues related to the illustration and the choices made by Vogel in 1930 - this thesis study is based on a chronological and compared work. Largely biographical, to highlight the personality and career of Vogel and de Brunhoff from their profession al beginnings to the end of their career, this reflection has also to be taken as a more general contribution to cultural history, to illustrated press history, and to the history of women's magazines of beginning of the twentieth century in which both publishers have left an image of groundbreaking and aesthetes publishers.

Esta pesquisa aborda o design do livro tátil ilustrado, uma obra que possibilita a inclusão do leitor com deficiência visual. A investigação está centrada no modo como a mensagem é expressa no texto e na imagem, a partir do entendimento da tipografia, da diagramação, da linguagem empregada na ilustração e da produção gráfica. O objetivo da pesquisa é discutir sob a ótica do design a produção atual desta categoria de livro, entendendo-se que o livro tátil ilustrado configura-se como um objeto multissensorial que explora, principalmente, a percepção tátil, sendo esta um recurso também utilizado no despertar da curiosidade do leitor em fase de alfabetização. Para o leitor, principalmente, o cego, é importante desenvolver a sensibilidade tátil ainda na infância, por isso o livro físico como uma fonte de informação é instrumento fundamental de formação perceptiva. Grande parte da produção do livro tátil ilustrado está vinculada a conhecimentos oriundos da pedagogia, desenvolvidos nos centros de assistência à pessoa com deficiência visual, muitas vezes, sem a participação integral do designer no projeto. Por esta razão, no Brasil, os livros oriundos de diferentes iniciativas assemelham- se e são caracterizados pela produção tradicional, seguindo a concepção de material didático para cegos. Recentemente, uma nova concepção de livros multissensoriais para crianças tem sido elaborada por um número restrito de editoras, fundamentalmente as europeias, que exploram diferentes técnicas de acabamento na obtenção da imagem tátil. Esta pesquisa parte da hipótese que grande parte das imagens presentes nos livros táteis ilustrados produzidos no Brasil não são interpretadas pelo cego. São apresentados os desdobramentos desta questão relacionados ao entendimento da imagem e do texto. Entre eles, indaga-se: a linguagem dos desenhos táteis estaria condizente com o leitor cego? A técnica de obtenção do relevo interfere no processo de leitura? O texto auxilia no entendimento da imagem? A composição rígida das páginas favorece a leitura? A ausência de estudos específicos sobre o livro tátil ilustrado no campo do design e as restritas publicações bibliográficas no âmbito da leitura háptica conduziram para o levantamento de campo: visita às escolas especializadas, visita aos museus acessíveis e leitura mediada junto ao público de interesse. Além disso, realiza-se a análise de seis obras com diferentes concepções de ilustrações táteis, sendo três nacionais: O Chapeuzinho vermelho, de Bia Villela, Abraço de urso, de Cláudia Cotes, Adélia sonhadora, de Lia Zatz; e três importadas: Ruvidino in piscina, do Istituto dei Ciechi di Milano, Des vers de travers, de Anette Diesen, e Petit souffle de vent, de Elisa Lodolo. As leituras têm o propósito de discutir a compreensão da imagem, do texto e a composição do livro. Esses livros são analisados a partir de referências do design gráfico e da percepção visual, com maior ênfase nas obras de Bruno Munari e Rudolf Arnhein. Por fim, produz-se uma série de trabalhos práticos de caráter experimental a partir de narrativas que suscitam ampliar a discussão do processo de projetar um livro tátil ilustrado. Os resultados mostram que grande parte das imagens táteis presentes nas publicações brasileiras não são compreendidas pelos leitores cegos, sendo que um conjunto de fatores associados corrobora para este resultado, entre eles, identifica-se a linguagem das ilustrações, a técnica de produção e ausência do concreto na relação do texto com a imagem. / This research addresses the tactile illustrated book design, a work that enables the inclusion of the reader with visual impairments. The research is centered on how the message is expressed in the text and the image, from the understanding of typography, the layout, the language used in the illustration and mass production. The aim of the research is to discuss from the viewpoint of design the current production of this book category, on the understanding that the illustrated tactile book figure as a multi-sensory object that explores mainly the tactile perception, this being a feature also used to arouse the reader\'s curiosity in the literacy phase.For the reader, especially the blind, it is important to develop a tactile sensitivity in its childhood, therefore the physical book as a source of information is a fundamental tool of perceptual training. A great part of the production of illustrated tactile book is tied to knowledge originating from pedagogy, developed at the assistance centre for visually impaired and very often without the full involvement of the designer in the project. For this reason, in Brazil, books from different initiatives are similar and are characterized by traditional production, in accordance with didactic material for the blind. Recently, a new concept of multi-sensory books for children have been developed by a limited number of publishers, primarily European, exploring different finishing techniques in obtaining the tactile image. This research starts from the assumption that most of the images presented in the illustrated tactile books produced in Brazil are not interpreted by the blind. Will be presented the developments on this issue related to the understanding of image and text. Amongst them: the language of tactile drawings would be consonant with that of the blind reader? The embossing technique interferes in the reading process? The text assists in the understanding of the image? The rigid composition of the pages stimulate the reading? The absence of specific studies regarding the tactile illustrated book in the field of design and the strict bibliographic publications within the haptic reading led to the field survey: visits to specialized schools, visits to acessible museums and reading mediated by the target public. In addition, the analysis of six books, each one with different conceptions of tactile illustrations, was carried out, being three of them national: O Chapeuzinho vermelho, by Bia Villela, Abraço de urso, by Cláudia Cotes, Adélia sonhadora, by Lia Zatz; and three from abroad: Ruvidino in piscina, by Istituto dei Ciechi di Milano, Des vers de travers, by Anette Diesen and Petit souffle de vent, by Elisa Lodolo. The readings are meant to discuss the understanding of image, text and the book\'s composition. These books are analyzed based on references brought from graphic design and visual perception, with greater emphasis on the works of Bruno Munari and Rudolf Arnhein. Finally, it was produced a series of practical work of an experiential nature from narratives which intend to broaden the discussion about the process of designing a tactile illustrated book. The results demonstrated that the majority of tactile images present at Brazilian publications are not understood by blind readers - a set of associated factors corroborates to this result: the illustration language, the reproduction technique and absence of concrete in the relation between text and image.

A Vida Paulista semanário ilustrado de humorismo, crítica e arte foi publicada na cidade de São Paulo entre 1903 e 1905. Naquela época, a indústria gráfica estava em expansão e o jornalismo se convertia em empreendimento lucrativo, acompanhando o desenvolvimento urbano e comercial das principais cidades do país. Na capital paulista, desde a última década do século XIX, a imprensa periódica proliferava e assumia funções diversas. A Vida Paulista delimitou o seu escopo pelo trinômio humorismo, crítica e arte, mas abordou assuntos vários e defendeu um programa fundado no bom-senso dos comentários e na independência da opinião. Os diretores do semanário pretendiam fazer dele um caleidoscópio do viver multiforme e cosmopolita da capital artística do Brasil. No alvorecer do século XX, o estado de São Paulo e sua capital passavam por grandes transformações e foram palcos de tramas diversas, das quais a Vida Paulista foi testemunha e agente. No presente trabalho, pretendemos apresentar o semanário ilustrado fundado por Arlindo Leal e Peregrino de Castro, disponibilizá-lo em versão digital para futuras pesquisas e oferecer caminhos sem qualquer ambição de esgotar as infinitas possibilidades de leitura da Vida Paulista como fonte de conhecimento sobre o passado. Nosso objetivo é nutrir a revista de alguns pressupostos necessários à sua utilização como documento histórico, restituindo-lhe parte da inteligibilidade que o tempo e o esquecimento removeram. / Vida Paulista illustrated weekly magazine of humor, criticism and art was published in São Paulo (city) between 1903 and 1905. By that time, graphic industry was expanding and journalism was converting into a profitable enterprise, following the urban and commercial development of the main cities of Brazil. At São Paulos capital, since the last decade of nineteenth century, the periodical press proliferated and assumed various functions. Vida Paulista delimited its own scope by the trinomial humor, criticism and art, even though it addressed several issues and defended a program based on a good judgment of their reviews and independence of opinion. The heads of the magazine intended to make it a kaleidoscope of the multiform and cosmopolitan way of living of Brazils artistic capital. At the beginning of the twentieth century, the state of São Paulo and its capital went through major transformations and worked as stage for several plots, of which Vida Paulista was witness and agent. In this work, we seek to present the illustrated weekly magazine founded by Arlindo Leal and Peregrino de Castro, make it available in digital form for future researches and offer ways with no ambition to deplete the unlimited possibilities to read Vida Paulista as a source of knowledge about the past. Our goal is to foster the magazine with some assumptions that are needed for its utilization as historical document, restoring part of the intelligibility that time and oblivion has removed from it.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-02-27T16:23:25Z No. of bitstreams: 2 Tese - Rodolfo Fiorucci - 2014.pdf: 7840915 bytes, checksum: 7e9544566f772114aada077085648c33 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-02-27T16:25:13Z (GMT) No. of bitstreams: 2 Tese - Rodolfo Fiorucci - 2014.pdf: 7840915 bytes, checksum: 7e9544566f772114aada077085648c33 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-27T16:25:13Z (GMT). No. of bitstreams: 2 Tese - Rodolfo Fiorucci - 2014.pdf: 7840915 bytes, checksum: 7e9544566f772114aada077085648c33 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-05-30 / This study aims to find out what position the magazine Anauê! (1935-1937) occupies in the history of the Ação Integralista Brasileira (AIB) and of the press in Brazil Republican, in order to re-evaluate the impact of this publication in the context of the 1930s. This study analysis the magazine as an attempt to contradict the speech from the Corporate media - closely linked to modernization of the country and to foreign lifestyle, something that was criticized by integralistas who resisted any outside interference - as well as being an important vehicle in the propaganda for the party in presidential elections where Plínio Salgado ran. The magazine worked from a nationalism that dialogued with the international fascism and shared strategies with it, which became it differentiated in publishing market. Inserted in the journalistic field that is conventionally classified as variety and illustrated, this style was not common in the structure of AIB press (marked by political and doctrinal discourse specifically), so it is important to monitor progress and failures of this magazine, the proposed objectives and the application of the technical that characterize these illustrated magazines. / Neste estudo propõe-se descobrir qual a posição que a revista integralista Anauê! (1935-1937) ocupa na história da Ação Integralista Brasileira (AIB) e da imprensa no Brasil Republicano, com vistas a reavaliar o impacto dessa publicação no contexto dos anos 1930. Entende-se, aqui, a revista como uma tentativa desta de se contrapor ao discurso proveniente da imprensa empresarial - muito ligada à modernização do país e aos modismos estrangeiros, algo que era criticado pelos integralistas que resistiam a qualquer ingerência externa -, além de ser um veículo importante na propaganda eleitoral do partido no pleito presidencial em que concorreu Plínio Salgado. A revista trabalhava a partir de um nacionalismo que dialogava e compartilhava estratégias com o fascismo internacional, o que a tornou diferenciada no mercado editorial. Inserida no campo jornalístico que se convencionou classificar como das revistas de variedades e ilustradas, estilo não presente, até então, na estrutura de imprensa integralista (marcada por discurso político e doutrinário especificamente), importa acompanhar os avanços e insucessos deste periódico tanto nos objetivos propostos como na aplicação das técnicas características das revistas ligeiras.

Au lendemain de la défaite de 1967 appelée la naksa, une génération d’intellectuels syriens, égyptiens et libanais s’engagent dans l’écriture et l’illustration pour les enfants. Ce faisant ils se racontent et dessinent leur avenir idéalisé. La création arabe en littérature pour la jeunesse qui se développe dans les années 1970 est profondément animée par le souffle idéologique de son temps. Elle pose les jalons structurels, thématiques et graphiques qui inspirent la production contemporaine. Les auteurs, illustrateurs et éditeurs entendent parler à l’enfant arabe du monde dans lequel il grandit. Ils mènent une réflexion sur les thématiques, sur les niveaux de langue arabe, sur l’image figurative, ses héritages, sa structure et ses codes. Leur quête est littéraire, artistique et identitaire : ils sont les initiateurs d’une renaissance, une nahda pour les enfants. Ces questionnements sont les pierres d’angle de notre recherche. Celle-ci se concentre sur le mouvement avant-gardiste de création arabe en littérature pour la jeunesse des années 1970 à nos jours, elle ambitionne d’en étudier les rouages et les ouvrages, d’observer l’articulation entre l’œuvre, son intention, son mode de production et son message. Il s’agit d’une part d’archiver les mémoires et les histoires collectives et individuelles, d’élucider les héritages et les filiations de ces créateurs, de suivre l’évolution de leurs motivations idéologiques, artistiques, économiques. Il s’agit d’autre part de faire une lecture au plus prés de notre corpus, une étude de l’évolution des thématiques au fil du temps mais aussi une analyse des albums eux-mêmes, dans leur structure linguistique et graphique. / After the defeat of 1967, known as the naksa, a generation of Syrian, Egyptian and Lebanese intellectuals began writing and illustrating children's books. In doing so they gave form to an idealized future. Children's literature that developed in the Arab world during the 1970s was greatly influenced by the ideological climate of the time. It laid the structural, thematic and graphical foundations on which today's work is based. The goal of authors, illustrators and publishers was to produce works for Arab children which described the world in which they were growing up. Their work was centered on themes, on the different levels of Arabic, on the figurative image, its heritage, its structure and its codes and conventions. Their objective was literary, artistic, and a quest for cultural identity. They were the vanguard of a renaissance, a nahda for children.These questions form the basis of this research. It concentrates on the avant-guard movement in children's literature from the 1970s to the present day. It attempts to study the way it worked and what was published, to observe the connections between the work itself, its aims, the way it was produced and its message. The research involves, on the one hand, documenting recollections and stories, both collective and individual, tracing the heritage and interconnections among of those involved, to follow the development of their ideological, artistic and economic motivation. It will also involve a detailed study of illustrated books for children, an examination of the thematic evolution over time, as well as a semiological reading of the books themselves, with reference to their linguistic and graphic structure.

This thesis investigates small-scale mappae mundi, world maps, created in the thirteenth-century, which record the historical, mythical, social, and religious reality of the world for wealthy English patrons. My research focuses on two maps found in a Psalm book (British Library Add. MS 28681, f. 9 and f. 9v) on either side of a single page. One depicts the world in typical mappae mundi fashion, with Jerusalem at the centre of a network of cities, topographic features and monstrous creatures while the other lists place names and geographic descriptions. The maps depict the world in very different manners, one textually and the other visually, but their placement on the same leaf emphasizes their connection. This work explores the iconography, socio-historic context and literary precedence of mappae mundi in order to comprehend the distinct need for mixed-media to represent and understand a complex worldly existence in thirteenth-century England.

Ce mémoire de maitrise porte sur la représentation de l’ailleurs véhiculée aux lecteurs d’images, au Québec, par les gravures du journal illustré L’Opinion publique. Effectivement, si l’Histoire commence avec les premières traces écrites, elle pose le problème de l’étude historique de ceux qui n’ont pas laissé de tels témoignages, les personnes qui ne sont pas ou peu alphabétisées. Nous proposons d’étudier ces personnes par le biais de l’image, médium auquel elles ont pu avoir accès. Nous avons ainsi cherché à savoir quelle connaissance de l’ailleurs a pu être véhiculée aux lecteurs d’images à travers les gravures du journal. Nous considérons que les gravures sont comprises par tous. Celles-ci représentent la moitié des pages du périodique, nous pensons que ce journal a pu être accessible à chacun, à ceux que nous appelons les lecteurs d’images. Nos conclusions montrent que ces illustrations ont pu étendre la connaissance de l’espace des Québécois, à travers la représentation de l’actualité. Il est à noter que ces gravures proviennent en partie de journaux français et montrent la France et ses colonies. La population montréalaise se trouve donc au contact d’une certaine influence française, dont les élites se font les vecteurs. Une comparaison avec le Canadian Illustrated News révèle de profondes différences. Ainsi, ce journal du même propriétaire indique un intérêt marqué pour l’Empire britannique. Ce journal qui vise un public plus cultivé que celui de son homologue francophone donne à voir un espace plus large à ses lecteurs. Ainsi, chaque ligne éditoriale se fait l’écho de représentations différentes, transmises à ses lecteurs, populaires ou moins, francophones ou anglophones. / This master’s thesis focuses on the representation of the idea of “elsewhere” as conveyed by the illustrated newspaper L’Opinion publique’s engravings to the pictures’readers in Quebec. Indeed, if history did commence with the written word alone, challenges would arise with regards to the historical study of those who did not leave behind such accounts, namely the illiterate or barely literate. We propose to study this audience by means of the printed picture. Thus, we explored how “elsewhere” was portrayed to the newspaper’s readers through the medium of the picture. We believe that the pictures were understood by everyone. Considering half of the newspaper consisted of illustrations, we assume L’Opinion publique would have been accessible to everyone. Our conclusions show that these illustrations could have expanded knowledge of space of the Quebecers, through the representation of the news. We notice a part of these engravings come from French newspapers and depict France and her colonies. Through the elite, Montreal population is in contact with a degree of French influence. A comparison with the Canadian Illustrated News reveals significant differences. This newspaper, owned by the same person, indicates a marked interest in the British Empire. The Canadian Illustrated News aims at a public more cultured than the French-speaking counterpart, indicated by the broader array of topics covered. Thus both papers explored different points-of-views, which were transmitted to its readers, working class or not, French or English speaking.

E. Appert (1831-1890) est un photographe essentiellement connu pour ses portraits d’insurgés dans les prisons versaillaises après la Commune de Paris et pour ses photomontages des Crimes de la Commune. Cependant, sa carrière débuta à Paris bien avant 1871 et se poursuivit sur une trentaine d’années. Ce photographe se révéla être un véritable « reporter » attentif à illustrer l’actualité. Tissant des liens utiles avec la Justice et la Préfecture de Police, ses portraits et ses photomontages se firent l’écho des événements politiques. Alors réputé pour être un photographe partisan de Thiers ou proche des bonapartistes, Appert photographiait en fait l’élite politique, religieuse et militaire sans parti pris. Il mit rapidement en pratique un portrait dépouillé de décor, où l’homme politique, à l’instar du détenu, posait assis sur une chaise devant un fond uni. Ses photomontages réalisés avec beaucoup de soin étaient principalement des portraits de groupe reflétant l’actualité politique et judiciaire. Le photographe développa des liens étroits avec la presse illustrée et publia dès le début des années 1860 des portraits dans le Monde Illustré et dans l’Illustration. Cette collaboration suivie lui donna l’occasion de faire connaître sa production au grand public. Issu d’un milieu modeste, la photographie permit à Appert de s’élever dans la société. Son opportunisme commercial fut un moyen de survivre aux aléas politiques de la fin du Second Empire, du siège de Paris, de la guerre civile et de l’instabilité de la Troisième République. / E. Appert (1831-1890) is a photographer known for his prisoners’ portraits after the Commune of Paris and for his photomontages of Crimes de la Commune. Meanwhile, he has begun his career before 1871 and for nearly thirty years. This photographer was in fact like a “reporter” looking after events of the moment. Weaving useful links with the Justice and the Paris police headquarters, his portraits and montages reflected political occurrences. Considered as a supporter of Thiers and closed to imperial family, Appert photographed above all the pick of Politic, Army and of the Church without choosing any side. He made a type of portrait, pure without any ornament: the model, politic or prisoner, seated on a simple chair in front of a plain background. His photomontages made carefully were mostly group portraits for political and judiciary actuality. The photographer developed narrowed links with illustrated press and has published portraits as early as the beginning of 1860 portraits in Le Monde Illustré and L’Illustration. This followed collaboration was an opportunity to be known by the public. From a modest social sphere, photography was a way for Appert to rise himself into the society. His commercial opportunism allowed the photographer to survive to economic and political difficulties throw the end of the Second Empire, siege of Paris, civil war and Third Republic.