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Gustave Courbet Et La Révolution Olfactive

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UNIVERSITÉ DU QUÉBEC À MONTRÉAL VIE ET MORT DU MIASME COURBÉTAIN . GUSTAVE COURBET ET LA RÉVOLUTION OLFACTIVE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN HISTOIRE DE L' ART PAR ANDRÉE-ANNE YENNE FÉVRIER 2013 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques · Avertissement La diffusion de ce mémoire se fait dans lei respect des droits de son auteur, qui a signé le formulaire Autorisation ds rapfoduirs. at de diffuser un travail de recherche de cycles sup6rfeurs (SDU-522- Rév.01-2006). Cette autorisation stipule que <<conformément à l'article 11 du Règlement no 8 dea études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une llc~nce non exclusive d'utilisation et de . publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur) autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre dea copiés de. [son] travail de rechercha à dea flna non commerciales sur quelque support qua ce soit, y comprlsl'lntemel Cette licence et cette autorisation n'entrainant pas une renonciation da [la] part [de l'auteur] à [ses) droits moraux ni à [ses) droits da propriété intellectuelle. Sauf ententé contraire, [l'auteur) conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire._» REMERCIEM ENTS Plusieurs personnes ont contribué à la réa li sati on de ce mémoire et je ne sa ura1s passer sou s silence leur aide précieuse. Tout d'abord , il me faut remerci er ma directri ce de recherche, madame Peggy Dav is de l' Uni versité du Québec à Montréal. So n so uti en, sa ri gueur et sa confi ance m'ont beaucoup aidée au cours des derni ères années. Je souhaite égal ement souli gner le rôle de mes professeurs à I' UQAM et à l' Uni vers ité Pari s Ouest Nanterre La Défense qui ont su, à travers leur ense ignem ent et leur passion, m' in spirer et m'en gager vers de nouve ll es avenu es de connaissances et tout particulièrement monsieur Charles Sa la, professeur en hi stoire de l'art à Nanterre, qui le premier m'a in iti ée à Gustave Courbet et son œuvre. Je voudrais auss i témoigner ma gratitude envers toutes les in stituti ons qui m'ont ouvert leurs portes et souli gner la généros ité et l'accessibilité de leur personn el. Merci donc à Bibli othèqu e et Archi ves nationales du Québec, au Service des bibli othèqu es de l' Université du Québec à Montréal, à la Bibliothèque nationale de Fran ce et à la Dartmouth Co ll ege Library, dont le spéc iali ste en arts visuels, monsieu r Joseph Joe Wright, m'a été d' un préc ieux secours. Le processus de création d' un mémoire est labori eux et sans so uti en fin ancier, i 1 serait difficile de le mener à terme. Je ti ens donc à remerci er le Conse il de recherch es en sciences humaines du Canada pour la bourse Joseph Armand Bombardi er qu ' il m'a octroyée en 2010, Janick Auberger, professeure au département d' hi stoire de I' UQA M, pour ses lettres de recommandation, ain si que ceux et ce lles qui m'ont permi s d'acquérir un e expéri ence de trava il professionnel durant ma scolarité; Dominic Hard y et Gill es Lapointe, professeurs au département d' hi stoire de l'art de l' UQAM, ain si que l'équipe du Mu sée d'art de Joli ette. En dernier li eu, je souhaite témoigner de to ute ma reco nnaissance envers trois personnes bi en spéciales qui, sans être des spéciali stes en hi stoire de l'art, m'ont soutenue à to ut moment; mon copain , Jean- François, et mes parents, Alain et Carole. Merci à chacun de vous. TABLE DES MATI ÈRES REMERCIEMENTS .............................. ....... ..... ..... ... .... ... ...... .... ... ..... .... ... ... .. ... ...... .... .. ....... ii LI STE DES FIGU RES ....... .. ... .. .. ............................ .... .. .... .... ....... .... ....... ..... ...... ... ......... .. .... v RÉSUMÉ .... ...... ...... .... .. .. ........ ....... .... .. ... .. .... .... ..... ......... .. ... .. ....................... ............... ......... x INTRODUCTION ..... ..... ... .. .. .. ....... ..... .. ....... .. .... ........ ... .. ... .... ...... .... ..... ... .......... .................. 1 CHAPITRE 1 LA NAISSANCE D' UN ARTISTE ...... .. .................................... ...... ...... .. ...... .. .. .... .. ........... 7 1. 1 Voyage olfactif dans le Pari s des ann ées 1840 . Découvrir Paris et ses odeurs ........ 9 1.1.1 L'ate li er .............. .. .... .................... .. ........ .. ........ .. .. .......... .. ...... ........ .. .. .. ...... 14 1. 2 Faire sa pl ace. L'odeur de l'artiste ................ ....... .. .. ................................................ 20 1.2. 1 La pipe 1.... .. .... .. .... .... ...... .... ...... .... .. .. .. .......... .. ............................................ 21 1.3 Premiers Salons et reconnaissance publique ............ .. ...... .... .. .... .. .... .. ........ .. ...... .. .. .. 27 1.3. 1 L'odeur du Salon .......... ...................... ............... .. .. .... .. .... .. .. .. ........ .. .... .. ....... 29 1.3.2 Les publics du Salon ................................ ...... ... ...... .......... .. ............................ 34 1.3 .3 La caricature rev isitée .. .......................................... .. .............. .. .... .... .. ............. 36 CHAP ITRE Il LA BATAILLE OLFACTIVE DU RÉA LI SME .. .................................................................. 42 2.1 La réalité olfacti ve vue à travers le crayon des caricatu ristes .................................... 43 2. 1.1 Le mi asme réali ste .......................................... .... .. .. ........ .. .. .. .......... .... .. .. .... .. 46 2.1.2 Courbet vu par les cari catures ..................... .. ................................................ 53 2.2 La réalité olfactive vue par Courbet.. ...... .... .............. .. .. .. ...................... .. ................... 56 2.2.1 Le paysage réaliste ................... ... .. .... .. ....................... .. ................................. 56 2.2.2 Les odeurs de la fé min ité .. .... ... ... .. ... .. .. ...................................... .... .. .. ........... 59 CHAPITRE Ill DÉSODORISER PARIS DU MIASME COURBÉTAIN .. ............. .. ........ ... ............... .. ....... 74 3.1 L'odeur du com1nunard .. ................. :................ .. .... .. .................... .. ........................ 75 3.1.1 Lapipell .. .... .......... .. ................................................................................... 77 3. 1.2 Le houblon antipatriotiq ue ............................ .. .............................. .. .. .. ...... .. 81 3. 1.3 L' univers scatologique .. ..... ...... .. .................. .. ..... .... .. ........ .. .. .. ...... ........... 85 3.2 L'odeur du condamné .............................................................................................. 86 IV 3.2.1 Le souffle des prisons parisiennes ........ ... .............. .. ... ...... ... ... .. ........ ... ....... 87 3.3 Sentir la fin ............ .. ....... .. ... ........................... .. .... ..... ... .... ... .... ... ........ ...... ....... ...... .. 94 3.3 .1 Les natures 1nortes ......... .. .. .. ............ .. ........ ............ .. ..... ......... ........... .. ........ 96 3.3 .2 Les truites ........ ....... ... .............................. .... ...... .... ..... ....... .............. ...... .... .. 100 CONCLUSION .. ..... ... ... .. .................. ... ... ...... ... .......................................................... .. ......... 104 BIBLIOGRAPHI E ............ .. .. ........ ........ ........... .. ................................... ............... ...... ........... 110 LISTE DES FIGURES Sauf indication contraire, les œuvres sont de Gustave Courbet. Figure Page 1.1 Les demoiselles de village, 1851-1852, huile sur toile, 194,9 x 26 1 cm, New York, The Metropolitan Museum of Art ..... ... .... ............................ .... ..... ... .... 8 1.2 Lavieille, «Cinq étages du monde parisien », ln Edmond Auguste Texier, Tableau de Paris: Ouvrage illustré de quinze cents gravures d 'après les dessins de Blanchard, Cham, Champin ... [et al.], t. 1, Paris: Paulin et Le Chevalier, 1852-1853, p. 65 ······································································································ 14 1.3 Horace Vernet, L 'atelier du peintre, 1820-1821 , huile sur toile, 55 x 65 cm, collection privée ................................ ..... .... .. ........ ... ............ ... ....... .. ... ..... .. ............... 15 1.4 Frédéric Bazi li e, L 'atelier de Bazille, 1870, hui le sur to i le, 98 x 128,5 cm, Paris, Musée d'Orsay ... .. ... ...... ... ... ......................................................... ........... .. ....... ........ 16 1.5 Honoré Daumier,« Les garnis», ln Paul de Kock, La grande ville. No uveau tableau de Paris comique, critique et philosophique, Paris, Bureau central des publications nouvelles, 1842, p. 171............... .............. ...... .... ...... .. .. .................. ..... 17 1.6 A. Prévost, « L'atelier de Courbet, rue Notre-Dame-des-Champs», In Le monde illustré, 15 1nars 1862 .......... .... .............. ... .... .... .. .... ...... ... .. .. .. .... .. .. .. .. ............ ..... ... .. 19 1.7 Un enterrement à Ornans dit aussi Tableau de figures humaines, historique d'un enterrement à Ornans, 1849-1850, huile sur toile, 315 x 668 cm, Paris, Musée d'Orsay .... .... ...... .. ... .... ...... ... ...................
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