Maternal vaccination with respiratory syncytial virus prefusion F vaccine (RSVpreF) is effective at preventing RSV-associated lower respiratory tract illness (LRTI) in newborns/infants.
This subgroup ...analysis from the global, phase 3, randomized, double-blind, placebo-controlled MATISSE (Maternal Immunization Study for Safety and Efficacy) trial evaluated participants enrolled in Japan. Pregnant women 24–36 weeks’ gestation were randomized 1:1 to receive RSVpreF or placebo. Maternal safety endpoints included local reactions/systemic events within 7 days, adverse events (AEs) through 1 month, and serious AEs (SAEs) through 6 months after vaccination. In infants born to maternal participants, safety endpoints included specific birth outcomes, AEs through 1 month after birth, and SAEs and newly diagnosed chronic medical conditions through 12 or 24 months after birth. Vaccine efficacy in infants was assessed against RSV-positive, medically attended LRTI (RSV-MA-LRTI) and severe RSV-MA-LRTI through 180 days after birth.
In Japan, 230 maternal participants received RSVpreF and 232 received placebo; 218 and 216 infants born to these mothers, respectively, were analyzed. Observed vaccine efficacy (95 % CIs) against infant RSV-MA-LRTI within 90 and 180 days after birth was 100.0 % (30.9, 100.0; RSVpreF, 0 cases; placebo, 7 cases) and 87.6 % (7.2, 99.7; RSVpreF, 1 case; placebo, 8 cases), respectively. Vaccine efficacy (95 % CIs) against severe RSV-MA-LRTI within 90 and 180 days was 100.0 % (−140.9, 100.0; RSVpreF, 0 cases; placebo, 3 cases) and 75.1 % (−151.5, 99.5; RSVpreF, 1 case; placebo, 4 cases), respectively. No safety concerns were identified. AE rates ≤1 month after vaccination/birth were similar in the RSVpreF (maternal, 16.1 %; infant, 48.6 %) and placebo (19.8 %; 50.5 %) groups. Preterm birth rates were also similar (RSVpreF, 3.2 %; placebo, 6.0 %).
Safety and efficacy data in Japanese participants were consistent with overall MATISSE results, supporting the efficacy of maternal RSVpreF vaccination against severe MA-RSV-LRTI/MA-RSV-LRTI in infants, with no safety concerns. NCT04424316.
Henri Matisse's experiments with form and color revolutionized the twentieth-century art world. In this concise critical biography, Kathryn Brown explores Matisse's long career, beginning with his ...struggles as a student in Paris and culminating in his celebrated use of paper cutouts and stained glass in the last decade of his life. The book challenges various myths about Matisse and offers a fresh perspective on his creativity and legacy. Chapters explore the artist's enthusiasm for fashion and cinema, his travels, personal ties, interest in African art, love of literature, and willingness to challenge audience expectations. Through close readings of Matisse's works, Brown offers new insight into the artist's friendships and battles with dealers, critics, collectors, and fellow artists.
This article has no intention to deconstruct the now classical Saidian idea that Western Orientalism was a global system of misrepresentation and control of non-Western cultures, particularly in the ...nineteenth century, when the colonial expansion spread over most of the regions marked by the cultures of Islam. Instead, It intends to reflect upon the fact that during this period, the Orientalist system established itself in the broader context of a modern condition which was (and still is) felt and conceived as a general “state of crisis.” This critical dimension of modern Western culture explains both the extreme degree of violence of the Orientalist enterprise of capture and its internal criticism by its own perpetrators. The same duality characterizes the modern production of visual images: the crisis of the Western mode of mimetic representation is responsible for both the paroxysmal multiplication of images, in the nascent “society of the spectacle,” and their implosion, in the experiments of the so-called artistic avant-gardes at the beginning of the twentieth century. Some decades earlier, such a radical critique of representation had been developed at the crossroads of applied arts and architecture, in debates on the nature and function of ornaments. We know how central the reference to the arts of Islam and their aesthetics, which were conceived in opposition to the contemporary Orientalist fancies, was for these debates. How did these two positions—the critique of Orientalism and of visual representation—interact? To what extent did they reinforce each other? In order to illustrate this question, This article will conjure up a most revealing episode: Henri Matisse’s trip to Algeria in 1906 and the works that immediately followed this early “Oriental” encounter for the artist.
Sin embargo, yo creo que se puede juzgar la vitalidad y el poder de un artista cuando, impresionado directamente por el espectáculo de la naturaleza es capaz de organizar sus sensaciones, e incluso ...de volver varias veces a ellas, y en diferentes momentos, continuándolas en un mismo estado de espíritu (1977, p. 60). Sin embargo, yo creo que se puede juzgar la vitalidad y el poder de un artista cuando, impresionado directamente por el espectáculo de la naturaleza, es capaz de organizar sus sensaciones, e incluso de volver varias veces a ellas, y en diferentes momentos, continuándolas en un mismo estado de espíritu. Sin embargo, el pintor no persigue de ninguna manera un único estado de espíritu que sea el mismo. Sin embargo, lo que ante todo prima, es que preguntemos en qué sentido el conocimiento pictórico puede ser legítimamente denominado conocimiento. Cómo me enseña; cómo llega a ser visible; cómo terminamos por verlo gracias a un cambio de mirada que no puede carecer de tener lugar si nosotros nos metemos en la Escuela de los ojos.
A teoria estética desenvolvida por John Dewey e apresentada em seu livro de 1934, “Arte como experiência”, possui considerável influxo da arte e dos artistas modernos. Esta influência, no entanto, ...até o momento recebeu pouca atenção de parte dos comentadores. O intuito deste artigo é justamente lançar luz sobre estas relações, por meio de uma apresentação do vínculo entre o filósofo e o pintor francês Henri Matisse. A hipótese defendida é que estes encontros entre o artista e o pensador impactaram a filosofia da arte de Dewey. O argumento desenvolvido foi dividido em quatro partes. No primeiro, abordou-se o contexto no qual se deu as reuniões, a saber, a Fundação Barnes. Em seguida, revisou-se os dados históricos de cartas destes encontros. Em um terceiro momento, buscou-se entender qual foi o impacto teórico desta troca para a estética de Dewey. Por fim, apresentou-se breves considerações finais.
This paper seeks to develop the connection in Merleau‑Ponty’s later ontology between the gesture and language. There is a concerted effort in Merleau‑Ponty’s “middle period” to illustrate that a ...linguistic system of signs is internally constellated by the body and its movement. This effort seems to give way to an ontology of flesh in the later period. On closer consideration, however, this ontology and the linguistic system of signs—both “diacritical”—are mutually imbricated. This highlights the crucial importance of separation, deviation, and difference in Merleau‑Ponty’s ontology. A question remains, however: how can the body, and in particular the gesture, be the very site of separation rather than of an initiation or identification? I argue that, for Merleau‑Ponty, every gesture contains something internally antagonistic to it, something that cannot be grasped or moved. In this sense, the gesture is an “implex,” both internally resistant to and productive of signification. It is, in short, the site of a symbolization. In light of this, in the conclusion I reconsider the final passages from “Cézanne’s Doubt” where Merleau‑Ponty discusses Freud’s “hermeneutical musings” on Leonardo, and the passages from “Indirect Language and the Voices of Silence” and the nature lectures where he discusses the painter’s brushwork.
Henri Matisse (1869-1954) adopted medievalism, a motif of cultural resistance in Occupied France, as a symbol of national unity through his appropriation of the fifteenth-century poems of Charles de ...Valois, duc d'Orléans (1394-1465). Matisse saw parallels between the plight of the medieval poet, held captive in England, and his own circumstances in France during the Second World War. Begun in 1942, while recovering from his near-fatal illness, aided by his friend André Rouveyre (1879-1962), encouraged by the fugitive poet Louis Aragon (1897-1982), Matisse introduced covert symbols and coded messages of hope and rebirth into his book to highlight his nation's heritage as he silently participated in the cultural battle that was being fought in France. This article analyses the aesthetic evolution of his wartime illustrated book Poèmes de Charles d'Orléans (1950), and examines his choice of poems, the handwritten text, his decorative illuminations, the images, d'Orléans's portrait and the frontispiece within the context of the disruption to the French nation and his own personal circumstances.
Inspired by recent interdisciplinary studies of music and the visual arts, this article is broadly based on the permeable boundaries between the two that are characteristic at the fin de siècle. I ...concentrate on scenes of music-making depicted on two painted canvases : Pierre Puvis de Chavannes’s Le Chant du berger (1891) and Henri Matisse’s La Musique (1910). The principal aim is to suggest how these illustrations of music and musical performance, as well as critical responses to them, resonate with perspectives from some of the most prominent aesthetic and intellectual concerns of the day. An additional aim is to extend our understanding of live musical engagement, considering what it might mean to obstruct empathetic identification, deny the sensuous properties of sound, and negate aesthetic experience.
O artigo examina as noções de “absorção” e “teatralidade” propostas por Michael Fried e retomadas por Yve-Alain Bois nos textos em que escreveu sobre a obra de Henri Matisse. Uma das questões ...centrais abordadas é o modo como a obra de Matisse resiste ao regime volátil de percepção precipitado pela modernidade industrial e como insta a um tipo de atenção a um só tempo contemplativa e difusa. Discute, além disso, como essa modalidade de percepção, que dispersa e difunde a atenção, e que é própria à pintura de Matisse, parece sintetizar duas vertentes opostas da tradição pictórica francesa: a dinâmica do olhar cambiante do Rococó e o estado de absorção que marca as pinturas de Greuze e Chardin.
Jazz, the illustrated book by Henri Matisse, is a testament to the vitality of the artist in the last decade of his career. The book consists of twenty illustrations reproduced in 370 copies using a ...stencil-based printing technique and the same Linel gouaches the artist had used for the original maquettes. This study reports on the comprehensive analysis carried out to identify the pigments in the gouaches used in Jazz by transmitted and reflectance infrared, Raman, SERS, and X-ray fluorescence spectroscopies, and describes the lightfastness of these gouaches as evaluated by microfaedometry. This study also highlights the necessity of a multi-analytical approach for comprehensive identification of artist materials and investigates the suitability of portable and non-invasive techniques. The results were consistent across the three copies investigated: a portfolio in the collection of the Museum of Modern Art in New York and two books in the collection of the Musée National d’Art Moderne in Paris. In total, 39 distinct colors were characterized, with the magenta, pinks, and blues being the most fugitive.
PDF
