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Le Isabella Stewart Gardner Museum, Le Kettle's Yard Museum & Gallery Et La New Art Gallery Walsall

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Le Isabella Stewart Gardner Museum, Le Kettle's Yard Museum & Gallery Et La New Art Gallery Walsall UNIVERSITÉ DU QUÉBEC À MONTRÉAL LA RÉACTUALISATION DES COLLECTIONS FERMÉES. ÉTUDES DE CAS: LE ISABELLA STEWART GARDNER MUSEUM, LE KETTLE'S YARD MUSEUM & GALLERY ET LA NEW ART GALLERY WALSALL. MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES DES ARTS PAR JUSTINE LEBEAU OCTOBRE 2010 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence 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 des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Mes premiers mots de remerciements s'adressent à ma directrice de recherche Marie Fraser pour avoir accepté de diriger ce mémoire. Je souhaite remercier Marie, tout spécialement pour sa curiosité, son SUPPOlt lors des derniers mois de correction et pour les judicieux conseils fournis tout au long de mon cheminement intellectuel. La documentation de deux de mes études de cas sur le terrain a été possible grâce à l'obtention d'une bourse à la mobilité de l'UQAM et d'un stage de recherche à l'étranger d'une durée de quatre mois au Royaume-Uni. J'ai également bénéficié, au cours de ma recherche, d'une bourse FARE d'accessibilité aux études de l'UQAM. Je tiens à exprimer une reconnaissance spéciale à Jo Digger, conservatrice de la collection Garman Ryan de la New Art Gallery Walsall, pour son accueil à l'été 2009 ainsi qu'à Cheryl Jones pour son aide documentaire à la bibliothèque et aux archives de l'institution. Un grand merci à Sebastiano Barassi, conservateur des collections du Kettle's Yard Museum & Gallery qui m'a accordé le temps d'une rencontre et a répondu à mes nombreux questionnements. Merci également à l'équipe des archives de l'Université Cambridge pour avoir facilité mes recherches en acceptant de m'ouvrir des dossiers qui avaient été scellés depuis les trente dernières années. Un merci tout particulier à l'immense générosité de Francine Couture du département d'histoire de l'aIt de l'UQAM pour m'avoir offelt la chance de travailler au sein d'un groupe de recherche partageant certaines de mes préoccupations. Je dois beaucoup à mes parents et à ma famille pour le SUPPOlt accordé tout au long de mes études et pour les mots d'encouragement si bienfaiteurs. Enfin, il serait impossible de passer sous silence ma dette envers Josh pour son incalculable foi en mon projet et pour la source inépuisable d'inspiration qu'il représente à mes yeux. Merci d'avoir patiemment écouté mes réflexions et intuitions et, surtout, d'avoir toujours été derrière moi à chaque instant. TABLE DES MATIÈRES LISTE DES FIGURES v LISTE DES ABRÉVIATIONS, SIGLES ET ACRONYMES x RÉSUMÉ xi INTRODUCTION 1 CHAPITRE 1 ENJEUX ET CARACTÉRISTIQUES DE LA COLLECTION FERMÉE Il 1.1 Le Isabella Stewart Gardner Museum 19 1.2 Le Kettle's Yard Museum & Gallery 27 1.3 La New Art Gallery Walsall 36 CHAPITRE II STRATÉGIES DE RÉACTUALISATION .47 2.1 Le programme de résidence d'artistes contemporains 48 2.2 Le programme d'exposition temporaire 63 2.3 La construction d'une nouvelle structure architecturale et la collection parallèle 70 CHAPITRE III LE PHÉNOMÈNE DE RÉACTUALISATION EN TANT QUE NOUVEAU MODE D'APPRÉHENSION DU TEMPS 81 3.1 La temporalité de la collection fermée 82 3.2 La temporalité du phénomène de réactualisation 87 3.3 L'anachronisme dans la discipline de l'histoire de l'art 92 CONCLUSION 99 ANNEXES 105 BIBLIOGRAPHIE 145 LISTE DES FIGURES Figure Page 1.1 Vue de la cour intérieure du Isabella Stewart Gardner Museum, côté nord (photographie: David Bohl, repr. tirée Hilliard T. Goldfarb, Isabella Stewart Gardner Museum. A Companion Guide and History, Boston, Yale University Press, 1995,pA4) 106 1.2 Le petit salon du Isabella Stewart Gardner Museum (photographie: David Bohl, repr. tirée d'Hilliard T. Goldfarb, Isabella Stewart Gardner Museum. A Companion Guide and History, Boston, Yale University Press, 1995, p. 86). 107 1.3 La salle consacrée au Titien (1490-1576) du Isabella Stewart Gardner Museum (photographie: David Bohl, repr. tirée d'Hilliard T. Goldfarb, The Isabella Stewart Gardner Museum. A Companion Guide and History, Boston, Yale University Press, 1995, p. 119)............ 108 lA John Singer Sargent (1865-1925), Portrait of Isabella Stewart Gardner (1888) dans la salle gothique (photographie: David Bohl, repr. tirée de l'ouvrage d'Hilliard T. Goldfarb, The Isabella Stewart Gardner Museum. A Companion Guide and History, Boston, Yale University Press, 1995, p.144)............ 109 1.5 L'Atelier de Giovanni Bellini, Le Christ transportant la croix (v.1505) dans la salle Titien (photographie: David Boh!, repr. tirée de l'ouvrage d'Hilliard T. Goldfarb, The Isabella Stewart Gardner Museum. A Companion Guide and History, Boston, Yale University Press, 1995, p. 125).... 110 1.6 Vue intérieure du Kettle's Yard Museum & Gallery (photographie: Paul Allitt, gracieuseté du Kettle's Yard Museum & Gallery).................. III 1.7 Kettle's Yard Museum & Gallery, vue extérieure (repr. tirée de Kettle's Yard et al., Kettle's Yard House Guide, Cambridgeshire Collection, 2002)....................... 112 1.8 Kettle's Yard Museum & Gallery, vue intérieure et détail (repr. tirée de Sebastiano Barassi, Kettle's Yard Gallery et al., Kettle's Yard House Guide, Kettle's Yard, Cambridge, 2002, p. 17). 112 vi 1.9 Salle de bain de Jim Ede au Kettle's Yard Museum & Gallery (repr. tirée de Jim Ede, A Way of Life : Kettle's Yard, Cambridge, Cambridgeshire, New York, Cambridge University Press,1984, p. 54)........................... 113 1.10 Alfred Wallis (1855-1942), Boats with Fisherman Letting out Nets dans la salle de bain de Jim Ede au Kettle's Yard Museum & Gallery (repr. tirée de Jim Ede, A Way ofLife : Kettle's Yard, Cambridge, Cambridgeshire, New York, Cambridge University Press, 1984, p. 55)........................... 114 1.11 Vue d'un assemblage au Kettle's Yard Museum & Gallery, 2002 (repr. tirée de Sebastiano Barassi, Kettle's Yard Gallery et al., Kettle's Yard House Guide, Kettle's Yard, Cambridge, 2002, p. 13)............................ 115 1.12 La New Art Gallery Walsall, vue extérieure (repr. tirée de Dean Hawkes, The Environmentallmagination : Technics and Poetics ofthe Architectural Environment, Londres, Routledge, 2008, p. 169)......................... 116 1.13 La collection Garman Ryan telle qu'exposée au Walsall Museum & Art Gallery avant les rénovations des années 1990, « Old Gallery Pictures », Archives de la New Art Gallery Walsall..................................... 117 1.14 La collection Garman Ryan, vue de la salle destinée à la thématique des animaux et des oiseaux, Gracieuseté de la New Art Gallery Walsall.... 118 1.15 Sir Jacob Epstein (1880-1959), Premier portrait de Kathleen (1921), bronze (repr. tirée de The New Art Gallery Walsall, «Epstein, Sir Jacob », [en ligne], http://www.artatwal·all.org.uk/indcx2.a p?scc=2&id=2, (page consultée le 8 juin 2009))....................................................... 119 1.16 Fritz Muhsam (1882-1949), Esther (1934), huile sur toile, dim. 46.0 x 38.5 cm (repr. tirée de Peter F. Vigurs, Walsall Metropolitan Borough Council et Library and Museum Services, The Garman-Ryan Collection. Illustrated Catalogue, W. J. Ray & Co. Ltd., Walsall, 1976, [non paginé]).......... 120 1.17 Fritz Muhsam (1882-1949), Theo, (1934), huile sur toile, dim. 45 x 33.5 cm (repr. tirée de Peter F. Vigurs, Walsall Metropolitan Borough Council et Library and Museum Services, The Garman-Ryan Collection. Illustrated Catalogue, W. J. Ray & Co. Ltd., Walsall, 1976, [non paginé]).......... 121 2.1 Vue de la salle d'exposition temporaire au Isabella Stewart Gardner Museum lors de l'exposition TV Diner (2004) de Maurizio Cannavacciuolo (repr. tirée de Isabella Stewart Gardner Museum et al., Maurizio Cannavacciuolo, Isabella Stewart Gardner Museum, Boston, 2004, p. 36) 122 vii 2.2 Vue en élévation du projet d'expansion de Renzo Piano au Isabella Stewart Gardner Museum, mars 2008 (repr. tirée de Isabella Stewart Gardner Museum, [en ligne], http://www.!_wrdncrmlisclIm.org/prcss rclcascs/ncw bu ildinglapriI200g/cxp<msion projccl imagcshccl.pdf. (page consultée le 9 janvier 2009)) 123 2.3 Abelardo Moreil (1948- ), Exquisite Corpse (1998), dim. 50.8 x 60.96 cm., épreuve sur gélatine-argent (photographie: Abelardo Moreil, gracieuseté de l'artiste et de la galerie Bonni Benrubi de New york)...................... 124 2.4 Aberlardo Moreil (1948- ), Dave and the Earl ofArundel (1998), dim. 50.8 x 60.96 cm., épreuve sur gélatine-argent (photographie: Abelardo Moreil, gracieuseté de l'artiste et de la galerie Bonni Benrubi de New york)..... 125 2.5 Abelardo Moreil (1948- ), Joan and Sir William Eulls (1998), dim. 50.8 x 60.96 cm., épreuve sur gélatine-argent (photographie: Abelardo Moreil, repr. Tirée d'Abelardo Morel, Charles Simic, Jennifer R. Gross et Isabella Stewart Gardner Museum, Abelardo Morel!, Face to Face: Photographs at the Gardner Museum, Boston, The Museum, 1998, p.
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