Michel Menu

Dados Biográficos

ID633281
NOMEMichel Menu
PRENOMESMichel
SOBRENOMEMenu
ASSINATURAMENU M
AFILIAÇÕESCentre National de la Recherche Scientifique
ORCID0000-0002-5118-5311
VERIFICADOSim
TOTAL DE OBRAS35
TOTAL DE CITAÇÕES156
TOTAL COMO AUTOR35
TOTAL COMO EDITOR0
PRIMEIRO ANO DE PUBLICAÇÃO1982
ANO MAIS RECENTE DE PUBLICAÇÃO2026
ÍNDICE H8

  • New insights on Titian’s Ecce Homo materiality by coupled MA-XRF, RIS and LIS scanning

    Open AccessRaphael Moreau, Nicolette Levy et al.ARTICLEJournal of Cultural Heritage2026

  • Révéler les choix matériels et techniques de Léonard de Vinci par l’analyse chimique

    Open AccessVictor Gonzalez, Víctor Fernando Herrera González et al.ARTICLESpotlight2024

    Collecter des informations chimiques sur les matériaux employés par Léonard de Vinci permet de mieux comprendre la matérialité de ses pratiques picturales et fournit de nouvelles informations pouvant contribuer à la conservation de ses œuvres. Mais les peintures de Léonard sont des systèmes chimiques complexes, assemblages hybrides de pigments minéraux et de composés organiques, notamment liants à l’huile. Ces pigments étaient obtenus par des voi…

  • Léonard de Vinci, l’expérience de l’art

    Open AccessMichel MenuARTICLESpotlight2024

    Pour Léonard, l’expérience est « mère commune des arts et des sciences ». En expérimentaliste, il développe son art, sa technique picturale, en expérimentaliste, il perçoit le réel, il cherche à comprendre la nature, et, pour expérimenter son rapport au monde, il a recours au miroir qui permet de distinguer l’image de la réalité. Le miroir est aussi un moyen d’entrer dans l’œuvre de l’artiste.Depuis la conférence tenue à la National Gallery de Lo…

  • Ceramic floor tiles with yellow pigment from Kievan Rus’

    Open AccessV A Aseev, Denis Prokuratov et al.ARTICLEJournal of Archaeological Science…2024Referências: 3

  • The ornamentation steps of the Bull Rotunda of the Lascaux cave give new insights into the Upper Palaeolithic natural life cycle

    Open AccessIna Reiche, Colette Vignaud et al.ARTICLEArchaeometry2024Citada por: 2Referências: 11

    Although the ornamentation of the Lascaux cave seems relatively homogeneous in style, the analysis by scanning and transmission electron microscopy of 32 microsamples from the figures of the Hall of the Bulls (Bull Rotunda) and one desquamated sample from the soil highlighted different paint pots. The black and red paint matters with their associated mineralogical phases were extensively characterized. Considering previous stylistic and superimpo…

  • Necessity and Use of a Multilayer Test Object Based on an Anonymous 19th Century Copy of a Painting by Ivan Konstantinovich Aivazovsky (1817–1900)

    Open AccessIvan I Andreev, Sergey V Sirro et al.ARTICLEHeritage2022Referências: 6

    The emergence of new research methods in the field of heritage science always raises a large number of questions related to their applicability, reproducibility of results on similar objects, complementarity with other methods, and development of new research methods. To solve such problems, it is necessary to have a test object with the required structure. A multilayer test object based on a fragment of a copy of a 19th century painting by I.K. …

  • Vers une nouvelle approche du nettoyage de peintures

    Open AccessMaxime Lopez, Xueshi Bai et al.ARTICLESpotlight2020

    Le nettoyage de peintures de chevalet est une opération de restauration courante qui comprend le décrassage, l’allègement ou le retrait de vernis oxydés, ainsi que le retrait de repeints indésirables. Dans certaines situations, les méthodes traditionnelles utilisées par les restaurateurs (solubilisation ou retrait mécanique) ne suffisent pas pour aboutir à un nettoyage parfaitement contrôlé et sélectif. Pour pallier ces limitations, l’ablation la…

  • Les chancis des peintures de chevalet

    Open AccessAnaïs Genty-Vincent, Anaïs Genty‐Vincent et al.ARTICLESpotlight2018Referências: 7

    Les chancis de vernis et de couches picturales des peintures de chevalet à l'huile sont des altérations récurrentes induites principalement par l'humidité. L'article expose un état de l'art sur la restauration des peintures chancies à partir de substances transparentes filmogènes ou de solvants sous forme vapeur ou liquide. Pour les chancis de vernis, l'analyse par nanotomographie à contraste de phase de prélèvements restaurés selon des pratiques…

  • Imaging the Layered Fabric Of Paints From Nomansland Rock Art (South Africa)

    Open AccessStéphane Hœrlé, David G Pearce et al.ARTICLEArchaeometry2016Citada por: 2Referências: 32

    South African rock art provides a window into the Bushman worldview. For a better understanding of Bushman history and beliefs and the conservation of rock art sites, a better knowledge of the materials making up the paints, the mineral accretions and their alterations is required. A conjunction of imaging techniques (optical microscopy, SEM–EDX, Raman spectromicroscopy and synchrotron FT–IR) allowed us to describe the complex layered fabric that…

  • First Direct Radiocarbon Dating of the Lower Congo Rock Art (Democratic Republic of the Congo)

    Open AccessGeoffroy Heimlich, Pascale Richardin et al.ARTICLERadiocarbon2013Citada por: 4Referências: 15

    Lower Congo rock art is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Although Lower Congo rock art was identified as early as the 19th century, it had never been a subject of thorough investigation. Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo Kingdom. With 102 sites (including 16 decorated…

  • Non-Destructive Portable Analytical Techniques for Carbon In Situ Screening Before Sampling for Dating Prehistoric Rock Paintings

    Open AccessLucile Beck, Dominique Genty et al.ARTICLERadiocarbon2013Citada por: 4Referências: 15

    Direct dating of prehistoric paintings is playing a major role in Paleolithic art studies. Very few figures can be directly dated since the necessary condition is that they contain organic carbon-based material. Thus, it is very important to check the presence of organic carbon-based material in situ before sampling in order to protect the visual integrity of the paintings or drawings. We have tested and compared 3 different portable analytical s…

  • Les colorants dans l’art pariétal et mobilier paléolithique de La Garma (Cantabrie, Espagne)

    Open AccessPablo Arias Cabal, Pablo Arias et al.ARTICLEL Anthropologie2011

  • L’analyse de l’art préhistorique

    Open AccessMichel MenuARTICLEL Anthropologie2009

  • Multianalytical Study of Palaeolithic Reindeer Antler. Discovery of Antler Traces in Lascaux Pigments by Tem

    Open AccessCELINE CHADEFAUX, Colette Vignaud et al.ARTICLEArchaeometry2008Citada por: 11Referências: 30

    Palaeolithic and modern reindeer antler were analysed using complementary techniques to evaluate the conservation state of bone material. X‐ray diffraction, FT‐IR spectroscopy, scanning electron microscopy (SEM–EDX) and transmission electron microscopy (TEM–EDX) as well as proton induced X‐ray and γ‐ray emission (PIXE–PIGE) at the particle accelerator AGLAE, C2RMF were applied. This study enabled us to define the chemical and structural features …

  • Le groupe des « bisons adossés » de Lascaux. Étude de la technique de l'artiste par analyse des pigments

    Open AccessColette Vignaud, Hélène Salomon et al.ARTICLEL Anthropologie2006Citada por: 18Referências: 2

  • Les blasons de Lascaux

    Open AccessEmilie Chalmin, Michel Menu et al.ARTICLEL Anthropologie2004

  • Étude de la matière colorante de la grotte d'Arenaza (Galdames, Pays Basque, Espagne)

    Open AccessD Garate, Eric Laval et al.ARTICLEL Anthropologie2004

  • Analysis of rock art painting and technology of Palaeolithic painters

    Emilie Chalmin, Michel Menu et al.ARTICLEMeasurement Science and Technology2003

    Archaeologists have attempted the interpretation of rock art, but have often disregarded the technical aspects of paints. Analysing paint samples for preparation techniques and studying the various compounds used, allows us to determine the technology of early painters. Palaeolithic artists used two main colours: red (iron oxide: natural hematite or heated goethite) and black (charcoal or manganese oxides). These pigments could be prepared in dif…

  • The crystallinity of ancient bone and dentine

    Open AccessIna Reiche, Colette Vignaud et al.ARTICLEArchaeometry2002Citada por: 13

    We studied various archaeological and palaeontological bones and dentines from different burial environments by Fourier transform infrared spectroscopy (FT–IR), X–ray diffraction (XRD) and transmission electron microscopy (TEM), in the framework of a general study of diagenesis. FT–IR and XRD were used to evaluate the global preservation state of the bone and dentine mineral phase by determining a splitting factor (SF) or a crystallinity index (C…

  • Analyse de la peinture de quelques sites postglaciaires du Sud-Est de la France

    Open AccessPhilippe Hameau, Virginia Cruz et al.ARTICLEL Anthropologie2001

  • Red Palaeolithic Pigments

    Open AccessMarie-Pierre Pomiès, Michel Menu et al.ARTICLEArchaeometry1999Citada por: 22Referências: 8

    Yellow goethite (α‐FeOOH) and red hematite (α‐Fe 2 0 3 ) were used as pigments by Palaeolithic painters. When heated, goethite dehydrates and transforms to hematite Archaeologists wonder whether prehistoric people knew of this property and used it. We present a way to distinguish heated goethite from natural hematite. The methods used are X‐ray diffraction and transmission electron microscopy. A double ‘signature’, namely selective broadening of …

  • Médée entre "avoir" et "être

    Open AccessMichel MenuARTICLEPallas1996

    Our analysis relies at a first stage on the syntactic turns and the adjectives that enable us to discriminate between what belongs in Medea to "having" and what to "being". The difference is revealing between what Medea has, her sole and ultimate possession, her two sons - whose wanderings in close solidarity with their mother's psychological turmoil constitute the main spring of the tragedy -, and the multiple advantages which Medea does not hav…

  • Les peintures schématiques postglaciaires du Sud-Est de la France

    Philippe Hameau, Michel Menu et al.ARTICLEBulletin de la Société…1995Citada por: 9

    The painted schematic art of the Chalcolithic period is the expression of its authors' philosophical beliefs but varies considerably according to local characteristics. The study of particularisms frequently allows an approach of ritual practices related to paintings. Analysis of the pigments choosen by the artists shows that there was a great diversity in drawing materials, even if the number of colours used was limited. Some modern over-paintin…

  • The working of pigment during the Aurignacian period

    Open AccessAngela Minzoni-Déroche, Angela Minzoni‐déroche et al.ARTICLEAntiquity1995Citada por: 1Referências: 5

    New finds from the Upper Palaeolithic of Anatolia, and the mineralogical analysis of their colours, extends evidence of a precocious interest in pigments from the western European heartland of Palaeolithic painting into the Near East

  • La gravure sur os au Magdalénien

    Cassandra Fritz, Carole Fritz et al.ARTICLEBulletin de la Société…1993Citada por: 5

    RESUME L'étude de l'art mobilier paléolithique nous démontre, depuis quelques années, que la reconstitution du geste et du comportement du graveur est importante. Nous pensons, en effet, que les gravures et les informations qu'elles recèlent, nous aident à établir les relations existantes entre la main, l'outil et le trait. Dans ce but, nous recherchons les particularités morphologiques des tracés, uniquement sur os. Notre recherche, basée sur un…