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Jean-Philippe Echard


 

Jean-Philippe Échard est conservateur en charge des instruments à cordes (frottées et pincées - lutherie) au Musée de la musique (Cité de la musique – Philharmonie de Paris) depuis 2014. Il inscrit ses recherches en organologie au sein de l’histoire culturelle, sociale, économique, matérielle et technique, dans le cadre de l’Équipe Conservation Recherche du Musée et du Centre de Recherche sur la Conservation (CRC, USR 3224, CNRS, MCC, MNHN). Ingénieur de recherche au laboratoire du Musée de la musique de Paris de 1999 à 2013, ses travaux ont alors principalement porté sur l’identification des matériaux constitutifs des instruments des collections patrimoniales, leur évolution au cours du temps et leur conservation. Chimiste de formation, ingénieur diplômé de l’École Nationale Supérieure de Chimie de Paris (1998), et titulaire d’un doctorat (2010, Muséum National d’Histoire Naturelle, Paris), Jean-Philippe Échard a également étudié l’acoustique musicale au Conservatoire National Supérieur de Musique et de Danse de Paris, et a suivi une formation par la recherche au Conservation Department de la National Gallery of Art de Washington, DC, en 2004-2005.

Jean-Philippe Échard is curator of bowed and plucked stringed instruments at the Musée de la musique in Paris (Cité de la musique – Philharmonie de Paris) since 2014. Échard’s current research is focused on organology in its cultural, social, economic, material context. He is a member of the Centre de Recherche sur la Conservation (CRC, USR 3224, CNRS, MCC, MNHN). From 1999 to 2013 he was a conservation scientist in the laboratory at the Musée de la musique, Paris, where he developed of analytical methodologies applied to cultural heritage artifacts. Jean-Philippe Échard trained as a chemist, with a degree from the École Nationale Supérieure de Chimie, Paris (1998) and a doctorate from the Muséum National d’Histoire Naturelle (2010). He also studied musical acoustics at the Paris Conservatoire National Supérieur de Musique et de Danse and was a Research Fellow at the National Gallery of Art, Washington, DC.


Journal articles21 documents

  • Hortense de la Codre, Marie Radepont, Jean-Philippe Échard, Oulfa Belhadj, Stéphane Vaiedelich, et al.. The use of XRF imaging for the chemical discrimination of iron‐gall ink inscriptions: A case study in Stradivari's workshop. X-Ray Spectrometry, Wiley, 2020, pp.1-9. ⟨10.1002/xrs.3160⟩. ⟨hal-02569884⟩
  • Jean-Philippe Échard. Reconstructing the History of the 1724 'Sarasate' Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research. Galpin Society Journal, The Galpin Society, 2020, 73, pp.111-132, 196-198. ⟨hal-03025740⟩
  • Marie Radepont, Jean-Philippe Échard, Matthias Ockermüller, Hortense de la Codre, Oulfa Belhadj. Revealing lost 16th-century royal emblems on two Andrea Amati’s violins using XRF scanning. Heritage Science, Springer, 2020, 8 (112), ⟨10.1186/s40494-020-00460-6⟩. ⟨hal-03000654⟩
  • Christine Hemmy, Jean-Philippe Echard, Philippe Bruguière. New Insights into the Life and Instruments of Gérard Joseph Deleplanque, Maker in Eighteenth-Century Lille. Galpin Society Journal, The Galpin Society, 2018, 71, pp.5-34. ⟨hal-01884084⟩
  • Jean-Philippe Échard, Pierrick Gaudry. An harmonious encoding of instrument values by a 19th century Parisian violin dealer. Cryptologia, Taylor & Francis, 2017, 41 (5), pp.448-458. ⟨10.1080/01611194.2016.1257524⟩. ⟨hal-01393625⟩
  • Sophie Tirat, Ilaria Degano, Jean-Philippe Echard, Agnès Lattuati-Derieux, Anna Lluveras-Tenorio, et al.. Historical linseed oil/colophony varnishes formulations: Study of their molecular composition with micro-chemical chromatographic techniques. Microchemical Journal, Elsevier, 2016, 126, pp.200 - 213. ⟨10.1016/j.microc.2015.11.045⟩. ⟨hal-01708530⟩
  • Jean-Philippe Echard, Valérie Malecki. Un amateur de musique du XIXe siècle : Louis Edouard Besson et ses violons. Musique, images, instruments, Paris: Ed. Klincksieck; Paris: Laboratoire d'organologie et d'iconographie musicale CNRS, 2015, 15, pp.274-293. ⟨hal-01446432⟩
  • Jean-Philippe Echard, Mathieu Thoury, Barbara H. Berrie, Tatiana Séverin-Fabiani, Alessandra Vichi, et al.. Synchrotron DUV luminescence micro-imaging to identify and map historical organic coatings on wood. Analyst, Royal Society of Chemistry, 2015, 140 (15), pp.5344-5353. ⟨10.1039/C5AN00483G⟩. ⟨hal-01442860⟩
  • Agnès Lattuati-Derieux, Sylvie Gomes, Sophie Tirat, Sylvie Thao-Heu, Jean-Philippe Echard. New insights into molecular evolution of oil/colophony varnishes: towards pyrolysis-gas chromatography/mass spectrometry-based quantitation: Evolution of oil/colophony varnishes. e-Preservation Science, Morana-rtd.com, 2014, 11, pp.54-63. ⟨hal-01152790⟩
  • Emanuele Marconi, Jean-Philippe Échard. The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights. Journal of the American Musical Instrument Society, American Musical Instrument Society, 2014, 39, pp.89-142. ⟨hal-01884094⟩
  • Loïc Bertrand, Matthieu Refregiers, Barbara H. Berrie, Jean-Philippe Echard, Mathieu Thoury. A multiscalar photoluminescence approach to discriminate among semiconducting historical zinc white pigments. Analyst, Royal Society of Chemistry, 2013, 138, pp.4463-4469. ⟨10.1039/C3AN36874B⟩. ⟨hal-01572682⟩
  • Jean-Philippe Echard, Christine Laloue, Isabelle Chochod, Daniele Pipitone. Characterization and conservation of the decorative paint on seventeenth-century French and Flemish harpsichord soundboards. Studies in Conservation, Maney Publishing, 2012, 57 (sup1), pp.S103 - S113. ⟨10.1179/2047058412Y.0000000018⟩. ⟨hal-01442840⟩
  • Gaël Latour, Jean-Philippe Echard, Marie Didier, Marie-Claire Schanne-Klein. In situ 3D characterization of historical coatings and wood using multimodal nonlinear optical microscopy. Optics Express, Optical Society of America - OSA Publishing, 2012, 20 (22), pp.24623-24635. ⟨10.1364/OE.20.024623⟩. ⟨hal-00123067⟩
  • Loïc Bertrand, Laurianne Robinet, Serge X. Cohen, Christophe Sandt, Anne-Solenn Le Hô, et al.. Identification of the finishing technique of an early eighteenth century musical instrument using FTIR spectromicroscopy. Analytical and Bioanalytical Chemistry, Springer Verlag, 2011, 399 (9), pp.3025-3032. ⟨10.1007/s00216-010-4288-1⟩. ⟨hal-02130652⟩
  • Mathieu Thoury, Jean-Philippe Echard, Matthieu Refregiers, Barbara Berrie, Austin Nevin, et al.. Synchrotron UV−Visible Multispectral Luminescence Microimaging of Historical Samples. Analytical Chemistry, American Chemical Society, 2011, 83 (5), pp.1737-1745. ⟨10.1021/ac102986h⟩. ⟨hal-01707689⟩
  • Céline Daher, Céline Paris, Anne-Solenn Le Hô, Ludovic Bellot-Gurlet, Jean-Philippe Echard. A joint use of Raman and infrared spectroscopies for the identification of natural organic media used in ancient varnishes. Journal of Raman Spectroscopy, Wiley, 2010, 41 (11), pp.1204-1209. ⟨10.1002/jrs.2693⟩. ⟨hal-00864287⟩
  • Jean-Philippe Échard, Loïc Bertrand. Complementary spectroscopic analyses of varnishes of historical musical instruments.. Spectroscopy Europe, 2010, 22 (2), pp.12-15. ⟨hal-02132314⟩
  • Jean-Philippe Echard, Loïc Bertrand, Alex von Bohlen, Anne-Solenn Le Hô, Céline Paris, et al.. The Nature of the Extraordinary Finish of Stradivari’s Instruments. Angewandte Chemie International Edition, Wiley-VCH Verlag, 2010, 49 (1), pp.197 - 201. ⟨10.1002/anie.200905131⟩. ⟨hal-01665937⟩
  • Jean-Philippe Echard, Loïc Bertrand, Alex von Bohlen, Anne-Solenn Le Hô, Céline Paris, et al.. Zusammensetzung und Aufbau des berühmten Stradivari-Lackes. Angewandte Chemie, Wiley-VCH Verlag, 2010, 122 (1), pp.202-206. ⟨10.1002/ange.200905131⟩. ⟨hal-02132317⟩
  • Gael Latour, Jean-Philippe Echard, Balthazar Soulier, Isabelle Emond, Stephane Vaiedelich, et al.. Structural and optical properties of wood and wood finishes studied using optical coherence tomography: application to an 18th century Italian violin. Applied optics, Optical Society of America, 2009, 48 (33), pp.6485-6491. ⟨10.1364/AO.48.006485⟩. ⟨hal-01236836⟩
  • Jean-Philippe Echard, Marine Cotte, Eric Dooryhee, Loïc Bertrand. Insights into the varnishes of historical musical instruments using synchrotron micro-analytical methods. Applied physics. A, Materials science & processing, Springer Verlag, 2008, A92, pp.77-81. ⟨10.1007/s00339-008-4449-7⟩. ⟨hal-00188480⟩

Conference papers4 documents

  • Marie Radepont, Oulfa Belhadj, Hortense de la Codre, Jean-Philippe Echard, Stéphane Vaiedelich, et al.. The use of X-ray fluorescence imaging for the distinction of iron-gall ink inscriptions on artefacts from Stradivari's workshop. MA-XRF, Oct 2019, Catane, Italy. ⟨hal-02454774⟩
  • Gaël Latour, Jean-Philippe Echard, Marie Didier, Marie-Claire Schanne-Klein. Multiphoton microscopy : an efficient tool for in situ study of historical artifacts. Optics for Arts, Architecture, and Archaeology IV, May 2013, Munich, Germany. Topography and Tomography, ⟨10.1117/12.2020221⟩. ⟨hal-00944935⟩
  • Gael Latour, Gaelle Georges, Laure Siozade, Carole Deumie, Jean-Philippe Echard. Study of varnish layers with optical coherence tomography in both visible and infrared domains. O3A: Optics for Arts, Architecture, and Archaeology II, 2009, Germany. pp.73910J. ⟨hal-00447462⟩
  • Jean-Philippe Echard. Le vernis des instruments de musique : principe et spécificités. Art et Chimie: Les polymères, Oct 2002, Paris, France. pp.75-80. ⟨hal-01446437⟩

Books1 document

  • Jean-Philippe Echard. Le violon Sarasate, stradivarius des virtuoses. 2018. ⟨hal-01884073⟩

Book sections1 document

  • Jean-Philippe Echard. Le vernis des violons italiens, histoire d’un mythe. Lainé F. (ed),. Le violon italien - Une seconde voix humaine, Opéra de Dijon-Ed. Aparté,, pp90-102, 2012. ⟨halshs-01706026⟩

Other publications2 documents

  • Loïc Bertrand, Matthieu Réfrégiers, Barbara Berrie, Jean-Philippe Échard, Mathieu Thoury. Synchrotron UV/visible imaging discriminates historical pigments. Synchrotron SOLEIL highlights 2013, 2014. ⟨hal-02139650⟩
  • Loïc Bertrand, Paul Dumas, Jean-Philippe Échard. Elucidating Stradivari's recipe. 2011, pp.70-71. ⟨hal-02130651⟩

Theses1 document

  • Jean-Philippe Echard. Etude physico-chimique des vernis d’un corpus d’instruments de musique européens du 15e au 18e siècle - approche historique et perspectives de conservation. Héritage culturel et muséologie. Muséum National d'Histoire Naturelle, 2010. Français. ⟨tel-01442832⟩