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La Patrimonialisation De L'impressionnisme Français Aux La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) Claire Hendren To cite this version: Claire Hendren. La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915). Art et histoire de l’art. Université de Nanterre - Paris X, 2019. Français. NNT : 2019PA100035. tel- 03279814 HAL Id: tel-03279814 https://tel.archives-ouvertes.fr/tel-03279814 Submitted on 6 Jul 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ED 395 – Milieux, cultures et sociétés du passé et de présent! HAR Membre de l’université Paris Lumières La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) Volume I sur II Claire HENDREN Thèse présentée et soutenue publiquement le 28 mai 2019 en vue de l’obtention du doctoratSous d’- titrehistoire éventuel de l’art de l’Université Paris Nanterre sous la direction de Mme Ségolène Le Men (Université Paris Nanterre) Jury : M. Sylvain AMIC, Conservateur en chef, Directeur de la Réunion des Musées Métropolitains Mme Frances FOWLE, Professeur à l'University of Edinburgh Mme Romy GOLAN, Professeur à la City University of New York Mme Ségolène LE MEN, Professeur émérite à l'Université Paris Nanterre M. Mark MEIGS, Professeur à l'Université Paris Diderot Mme Sylvie PATRY, Directrice de la conservation et des collections au musée d’Orsay La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) 2 SOMMAIRE Remerciements En premier lieu, je souhaite exprimer toute ma gratitude envers ma directrice de thèse, Ségolène Le Men, pour la grande confiance qu’elle m’a accordée, pour ses encouragements et ses conseils, et pour la liberté qu’elle m’a laissée. Je remercie l’École Doctorale 395 des Milieux, cultures, et sociétés du passé et du présent qui m’a accueillie, financée et offert un cadre de réflexion idéal. Je remercie également les personnes qui depuis le début m’ont aidée par leurs discussions, leurs corrections et leur soutien, tout particulièrement : Aurélie Petiot, Gretchen Henderson, Léa Saint-Raymond, Lisa Strong et Hadrien Viraben. Mes remerciements s’adressent également aux responsables et conservateurs suivants, sans qui cette thèse n’aurait jamais été menée à bien : Meg Black au Minneapolis Institute of Art, Ewa Bobrowska à la Terra Foundation for American Art de Paris, Patrick Byrnes à la Passaic County Historical Society, Gabrielle Carlo à la Albright-Knox Gallery, Jennifer Hardin au Cincinnati Art Museum, Alison Huftalen au Toledo Art Museum, Sarah Lernet au Carnegie Art Institute, Victoria Moore au Worcester Art Museum, Lauren Palmor au Fine Arts Museum of San Francisco, Aaron Rutt au Chicago Art Institute, Norma Sindelar au St. Louis Art Museum et Jessica Sutherland à la Minnesota Historical Society. 3 La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) 4 SOMMAIRE SOMMAIRE INDEX 5! Introduction 11! L’impressionnisme : comment établir une définition ? 11! Les études antérieures 15! La démarche et les méthodologies 20! Les étapes de l’étude 24! Partie I : 1870-1893 : Les premiers rapports entre les Américains et l’impressionnisme 27! Chapitre I : Les États-Unis : une nouvelle puissance économique en quête de légitimité culturelle 29! 1. Les États-Unis : une nouvelle puissance économique et culturelle ? 30! ! Les États-Unis : une puissance industrielle sans précédent 30! ! La culture, ou comment gagner en rayonnement international 33! 2.! En amont de l’impressionnisme, le goût des Américains pour l’École de Barbizon 40! ! Les raisons d’une acceptation rapide et intense 41! ! « Le sentiment d’enthousiasme personnel» des collectionneurs américains 45! ! La presse, premier médiateur du mouvement aux États-Unis ? 48! 3.! Les premiers achats impressionnistes par des Américains installés à Paris 51! ! George A. Lucas : acheteur impressionniste malgré lui ? 51! ! Mary Cassatt, Louisine Havemeyer et le début d’une collection emblématique 54! Chapitre II : Les premiers contacts des Américains avec l’impressionnisme français 61! 1.! Les débuts de l’impressionnisme vus par des correspondants locaux à Paris 61! ! La presse populaire et spécialisée et la formation du goût 61! ! « Le plaisir d’une sensation complétement nouvelle», ou les avis divergents des Américains à Paris 63! 2.! Les premiers contacts avec les œuvres impressionnistes sur le Nord-Est 70! ! Le prêt de Louisine Havemeyer à la American Water Color Society 70! 5 La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) ! La première circulation d’une œuvre impressionniste sur le sol américain : L’Exécution de Maximilien de Manet à New York et Boston 72! 3.! L’organisation d’expositions locales et la mise en place d’un avis américano-américain 79! ! Les premiers prêts américains de Durand-Ruel à la Foreign Exhibition de Boston 80! ! Les peintres américains défenseurs de l’impressionnisme français à la Pedestal Art Fund Loan Exhibition de New York 86! Chapitre III : Le Nord-Est américain, nouvelle « Médina » de l’impressionnisme ? 95! 1.! La mise en place d’un rapport américain esthétique et commercial lors de la première exposition officielle de 1886 95! ! Durand-Ruel et Sutton à la recherche de nouveaux débouchés 96! ! L’« état douloureux d’indécision» de la presse américaine 102! ! « Je les verrais à regret partir au pays des Yankees » : la réaction des peintres impressionnistes quant à l’envoi de leurs œuvres aux États-Unis 108! 2.! La construction d’un réseau marchand impressionniste aux États-Unis110! ! Le développement d’une succursale Durand-Ruel à New York 112! ! Des expositions commerciales et des ventes aux enchères dans des lieux partenaires 115! ! Rendre l’impressionnisme américanisable : la modification des titres d’œuvres 120! 3.! Manet : cheval de Troie de l’impressionnisme au Metropolitan Museum of Art 123! ! Une vente aux enchères transformée en don 123! ! Une acquisition célébrée 126! Chapitre IV : Des affinités électives avec l’idéologie américaine 129! 1.! L’influence des fondements esthétiques et idéologiques américaine 129! ! Un art de l’espace : l’influence du painted sketch 130! ! Des préférences marquées pour certains peintres 134! 2.! L’actionnisme des artistes américains 141! ! « Aider des belles choses à traverser l’Atlantique » : Mary Cassatt, intermédiaire en achat 142! ! La colonie de Giverny : diffuseurs idéologiques 147! Partie II : 1893-1903 : L’impressionnisme « plus connu dans des villes arriérées des États-Unis » ? : La circulation de l’impressionnisme du Nord-Est vers l’Ouest 153! 6 SOMMAIRE Chapitre V : Le Nord-Est : premier foyer impressionniste avec le développement de collections privées et publiques 155! 1.! Typologie du collectionneur impressionniste américain au tournant du siècle 155! ! Un « trust des chefs-d’œuvre » : l’exemple de Catholina Lambert 157! ! Amateur et avocat de Philadelphie : l’exemple de John G. Johnson 161! ! Y-a-t-il une spécificité du marché aux États-Unis ? 167! 2.! L’entrée dans les musées par des expositions et des dons 170! ! L’impressionnisme dans la ville de l’acier : les expositions et les achats du Carnegie Institute 170! ! L’impressionnisme dans tous ses médiums : le don d’estampes de Samuel P. Avery à la New York Public Library 180! Chapitre VI : Le Midwest : un concurrent au Nord-Est ? 189! 1.! Chicago, la « ville du porc » : nouvelle capitale culturelle du Midwest ?190! ! Collectionneurs et philanthropes : Bertha Honoré et Potter Palmer 191! ! La médiatrice locale de l’impressionnisme : Sarah Tyson Hallowell 195! ! L’impressionnisme français mis à l’honneur dans l’exposition de prêts de la World’s Columbian Exposition (1893) 201! 2.! Et ailleurs ? 208! ! Des expositions éducatives et commerciales dans une ville en reconstruction : l’exemple de St. Louis 208! ! Les collectionneurs impressionnistes dans le Midwest : entre amateurs et spéculateurs 212! Chapitre VII : Comment les États-Unis volèrent l’impressionnisme, ou les spécificités de la diffusion américaine du mouvement 221! 1.! Des éducatrices pour l’impressionnisme 222! ! Une veuve devenue critique d’art : le cas de Mariana Van Rensselaer 225! ! Les femmes critiques d’art, l’impressionnisme et le Midwest : l’exemple de Lucy Monroe 231! 2.! Les clubs privés, garants de la « vitalité» culturelle américaine 239! ! Un club politique au service de l’impressionnisme : l'Union League Club de New York 240! ! Un club culturel « foyer des impressionnistes » : le St. Botolph Club de Boston 247! ! Une rivalité entre clubs, accélératrice de l’appropriation américaine ? 251! Chapitre VIII : Des intérêts variés du Sud-Est à l’Ouest ? 255! 1.! L’archipel de la côte ouest 255! ! Investisseur minier et collectionneur : l’exemple de William A. Clark 256! 7 La patrimonialisation de l’impressionnisme français aux États-Unis (1870-1915) ! San Francisco : le monopole à l’Ouest sur l’impressionnisme ? 260! 2.! Les angles morts de l’impressionnisme 269! ! L’absence de l’impressionnisme dans les Expositions universelles et la presse du Sud-Est 269! ! Réticence à l’impressionnisme dans certaines villes des États-Unis : conservatisme
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