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                <text>Madeleine Tavernier</text>
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                <text>Parler d’écriture, dans le langage des Beaux-Arts, c’est en général s’intéresser au substrat graphique d’une peinture, au trait des dessins d’un artiste, aux éléments linéaires de ses compositions. Comme l’indique le sous-titre de cet article, c’est dans son acception plus stricte et plus formelle que nous entendons le terme écriture placé en tête de cette recherche. Notre propos est vraiment d’étudier la façon personnelle dont Gauguin, devenu adulte, traduisait sa pensée par les signes alphabétiques conventionnels dont ses maîtres d’école lui avaient appris l’usage dans ses jeunes années. Puis de tirer de cette étude toutes les lumières possibles concernant sa personnalité et son caractère.</text>
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                <text>Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.</text>
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                <text>Il libro, a cura del Laboratorio di Pedagogia sperimentale dell’Università Roma Tre e dell’Arigraf (Associazione di Ricerca Grafologica) propone le teorie e la pratica della scrittura a mano, con ricerche attuali, valutazioni e aggiornamenti di programmi e tecniche, con l’apporto di importanti studiosi del tema. Contributi (in ordine alfabetico) di Cinzia Angelini, Serena Baldassarre, Iride Conficoni, Caterina Cottone, Valentina D’Anna, Elena Manetti, Adriana Perris, Teresa Savoia, Loredana Soldini, Roberto Travaglini, Benedetto Vertecchi, Francesca Zannoni, Antonella Zaul Sajani.</text>
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