Access content directly

Jean-Philippe Échard

Curator musée de la Musique Cité de la musique - Philharmonie de Paris
39
Documents
Current affiliations
Researcher identifiers
Contact

Presentation

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.*

Publications

Image document

Identifying Medieval Fragments in Three Musical Instruments Made by Antonio Stradivari

Jean-Philippe Échard , Laura Albiero
Fragmentology, 2021, 4, ⟨10.24446/v4ub⟩
Journal articles hal-03499898v1
Image document

Revealing lost 16th-century royal emblems on two Andrea Amati’s violins using XRF scanning

Marie Radepont , Jean-Philippe Échard , Matthias Ockermüller , Hortense de La Codre , Oulfa Belhadj et al.
Heritage Science, 2020, 8 (112), ⟨10.1186/s40494-020-00460-6⟩
Journal articles hal-03000654v1
Image document

The use of XRF imaging for the chemical discrimination of iron‐gall ink inscriptions: A case study in Stradivari's workshop

Hortense de La Codre , Marie Radepont , Jean-Philippe Échard , Oulfa Belhadj , Stéphane Vaiedelich et al.
X-Ray Spectrometry, 2020, pp.1-9. ⟨10.1002/xrs.3160⟩
Journal articles hal-02569884v1
Image document

François Xavier Tourte, Archet de violoncelle, œuvre acquise par dation

Jean-Philippe Échard
La Revue des musées de France, 2020, 2, pp.12-13
Journal articles hal-03499909v1
Image document

Une exceptionnelle basse de violon à la cour des derniers Valois

Jean-Philippe Échard
La Revue des musées de France, 2020, 4, pp.4-8
Journal articles hal-03499920v1

Reconstructing the History of the 1724 'Sarasate' Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research

Jean-Philippe Échard
Galpin Society Journal, 2020, 73, pp.111-132, 196-198
Journal articles hal-03025740v1

New Insights into the Life and Instruments of Gérard Joseph Deleplanque, Maker in Eighteenth-Century Lille

Christine Hemmy , Jean-Philippe Echard , Philippe Bruguière
Galpin Society Journal, 2018, 71, pp.5-34
Journal articles hal-01884084v1
Image document

An harmonious encoding of instrument values by a 19th century Parisian violin dealer

Jean-Philippe Échard , Pierrick Gaudry
Cryptologia, 2017, 41 (5), pp.448-458. ⟨10.1080/01611194.2016.1257524⟩
Journal articles hal-01393625v1

Historical linseed oil/colophony varnishes formulations: Study of their molecular composition with micro-chemical chromatographic techniques

Sophie Tirat , Ilaria Degano , Jean-Philippe Echard , Agnès Lattuati-Derieux , Anna Lluveras-Tenorio et al.
Microchemical Journal, 2016, 126, pp.200 - 213. ⟨10.1016/j.microc.2015.11.045⟩
Journal articles hal-01708530v1

Synchrotron DUV luminescence micro-imaging to identify and map historical organic coatings on wood

Jean-Philippe Echard , Mathieu Thoury , Barbara H. Berrie , Tatiana Séverin-Fabiani , Alessandra Vichi et al.
Analyst, 2015, 140 (15), pp.5344-5353. ⟨10.1039/C5AN00483G⟩
Journal articles hal-01442860v1
Image document

Un amateur de musique du XIXe siècle : Louis Edouard Besson et ses violons

Jean-Philippe Echard , Valérie Malecki
Musique, images, instruments, 2015, 15, pp.274-293
Journal articles hal-01446432v1
Image document

New insights into molecular evolution of oil/colophony varnishes: towards pyrolysis-gas chromatography/mass spectrometry-based quantitation

Agnès Lattuati-Derieux , Sylvie Gomes , Sophie Tirat , Sylvie Thao-Heu , Jean-Philippe Echard et al.
e-Preservation Science, 2014, 11, pp.54-63
Journal articles hal-01152790v1
Image document

The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights

Emanuele Marconi , Jean-Philippe Échard
Journal of the American Musical Instrument Society, 2014, 39, pp.89-142
Journal articles hal-01884094v1

A multiscalar photoluminescence approach to discriminate among semiconducting historical zinc white pigments

Loïc Bertrand , Matthieu M. Refregiers , Barbara H. Berrie , Jean-Philippe Echard , Mathieu Thoury et al.
Analyst, 2013, 138, pp.4463-4469. ⟨10.1039/C3AN36874B⟩
Journal articles hal-01572682v1
Image document

In situ 3D characterization of historical coatings and wood using multimodal nonlinear optical microscopy

Gaël Latour , Jean-Philippe Echard , Marie Didier , Marie-Claire Schanne-Klein
Optics Express, 2012, 20 (22), pp.24623-24635. ⟨10.1364/OE.20.024623⟩
Journal articles hal-00123067v1

Characterization and conservation of the decorative paint on seventeenth-century French and Flemish harpsichord soundboards

Jean-Philippe Echard , Christine Laloue , Isabelle Chochod , Daniele Pipitone
Studies in Conservation, 2012, 57 (sup1), pp.S103 - S113. ⟨10.1179/2047058412Y.0000000018⟩
Journal articles hal-01442840v1

Synchrotron UV−Visible Multispectral Luminescence Microimaging of Historical Samples

Mathieu Thoury , Jean-Philippe Echard , Matthieu M. Refregiers , Barbara H Berrie , Austin Nevin et al.
Analytical Chemistry, 2011, 83 (5), pp.1737-1745. ⟨10.1021/ac102986h⟩
Journal articles hal-01707689v1

Identification of the finishing technique of an early eighteenth century musical instrument using FTIR spectromicroscopy

Loïc Bertrand , Laurianne Robinet , Serge X. Cohen , Christophe Sandt , Anne-Solenn Le Hô et al.
Analytical and Bioanalytical Chemistry, 2011, 399 (9), pp.3025-3032. ⟨10.1007/s00216-010-4288-1⟩
Journal articles hal-02130652v1

Zusammensetzung und Aufbau des berühmten Stradivari-Lackes

Jean-Philippe Echard , Loïc Bertrand , Alex von Bohlen , Anne-Solenn Le Hô , Céline Paris et al.
Angewandte Chemie, 2010, 122 (1), pp.202-206. ⟨10.1002/ange.200905131⟩
Journal articles hal-02132317v1

The Nature of the Extraordinary Finish of Stradivari’s Instruments

Jean-Philippe Echard , Loïc Bertrand , Alex von Bohlen , Anne-Solenn Le Hô , Céline Paris et al.
Angewandte Chemie International Edition, 2010, 49 (1), pp.197 - 201. ⟨10.1002/anie.200905131⟩
Journal articles hal-01665937v1

Complementary spectroscopic analyses of varnishes of historical musical instruments.

Jean-Philippe Échard , Loïc Bertrand
Spectroscopy Europe, 2010, 22 (2), pp.12-15
Journal articles hal-02132314v1
Image document

A joint use of Raman and infrared spectroscopies for the identification of natural organic media used in ancient varnishes

Céline Daher , Céline Paris , Anne-Solenn Le Hô , Ludovic Bellot-Gurlet , Jean-Philippe Echard et al.
Journal of Raman Spectroscopy, 2010, 41 (11), pp.1204-1209. ⟨10.1002/jrs.2693⟩
Journal articles hal-00864287v1

Structural and optical properties of wood and wood finishes studied using optical coherence tomography: application to an 18th century Italian violin

Gael Latour , Jean-Philippe Echard , Balthazar Soulier , Isabelle Emond , Stephane Vaiedelich et al.
Applied optics, 2009, 48 (33), pp.6485-6491. ⟨10.1364/AO.48.006485⟩
Journal articles hal-01236836v1

Insights into the varnishes of historical musical instruments using synchrotron micro-analytical methods

Jean-Philippe Echard , Marine Cotte , Eric Dooryhee , Loïc Bertrand
Applied physics. A, Materials science & processing, 2008, A92, pp.77-81. ⟨10.1007/s00339-008-4449-7⟩
Journal articles hal-00188480v1
Image document

La musique dans la Tenture des Fêtes des Valois

Jean-Philippe Échard
Beaufils, Oriane. La Tenture des Fêtes des Valois – Tisser les fêtes de Catherine de Médicis, Château de Fontainebleau; Liénart, pp.63-67, 2022, 978-2-35906-371-4
Book sections hal-03611398v1
Image document

Les violons de Crémone à la cour des derniers Valois

Jean-Philippe Échard
Beaufils, Oriane; Capodieci, Luisa. La Cour en fête dans l'Europe des Valois, Presses Universitaires François Rabelais, pp.221-235, 2022
Book sections hal-03611305v1
Image document

Documenting the Violin Trade in Paris: the Archives of Albert Caressa and Émile Français, 1930-1945

Carla Shapreau , Jean-Philippe Échard , Christine Laloue
Jane C. Milosch; Nick Pearce. Collecting and Provenance: A Multidisciplinary Approach, Rowman & Littlefield, pp.189-204, 2019, 978-1-5381-2756-8
Book sections hal-03636503v1
Image document

Le vernis des violons italiens, histoire d’un mythe

Jean-Philippe Echard
Lainé F. (ed),. Le violon italien - Une seconde voix humaine, Opéra de Dijon-Ed. Aparté,, pp90-102, 2012
Book sections halshs-01706026v1

The use of X-ray fluorescence imaging for the distinction of iron-gall ink inscriptions on artefacts from Stradivari's workshop

Marie Radepont , Oulfa Belhadj , Hortense de La Codre , Jean-Philippe Echard , Stéphane Vaiedelich et al.
MA-XRF, Oct 2019, Catane, Italy
Conference papers hal-02454774v1

Dating of modern music instrument combining the sharpest 14 C technology and independent expertise

M.-G G Durier , C Hatté , S. Vaiedelich , C. Gauthier , Claude Noury et al.
REFRAIN, Nov 2018, Paris, France
Conference papers hal-02293142v1

Radiocarbon dating application to modern musical instruments: an interdisciplinary study

M.-G Durier , C Hatté , S. Vaiedelich , C. Gauthier , C. Noury et al.
labs, art and relics, Nov 2018, Bruxelles, Belgium
Conference papers hal-02281820v1

Multiphoton microscopy : an efficient tool for in situ study of historical artifacts

Gaël Latour , Jean-Philippe Echard , Marie Didier , Marie-Claire Schanne-Klein
Optics for Arts, Architecture, and Archaeology IV, May 2013, Munich, Germany. Topography and Tomography, ⟨10.1117/12.2020221⟩
Conference papers hal-00944935v1

Study of varnish layers with optical coherence tomography in both visible and infrared domains

Gael Latour , Gaelle Georges , Laure Siozade , Carole Deumie , Jean-Philippe Echard et al.
O3A: Optics for Arts, Architecture, and Archaeology II, 2009, Germany. pp.73910J
Conference papers hal-00447462v1
Image document

Le vernis des instruments de musique : principe et spécificités

Jean-Philippe Echard
Art et Chimie: Les polymères, Oct 2002, Paris, France. pp.75-80
Conference papers hal-01446437v1