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Le Concept De Transparence Dans Les Oeuvres De UNIVERSITÉ DU QUÉBEC À MONTRÉAL VISION CHROMATIQUE ET GESTUALITÉ: LE CONCEPT DE TRANSPARENCE DANS LES ŒUVRES DE MARCELLE FERRON MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN HISTOIRE DEL' ART PAR VÉRONIQUE MILLET JUILLET 2017 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 sùpérieurs (SDU-522 - Rév.10-2015). 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 lice·nce et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectueile. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je souhaite avant tout remercier mon Directeur de mémoire, Gilles Lapointe,pour sa patience et sa présence au cours de mes recherches et de ma rédaction. Sans son soutien indéfectible, ce mémoire n'aurait jamais vu le jour. Je remercie également du fond du cœur mes enfants, Trystan et Thaïs, pour leur appui et leurs encouragements tout au long de mon périple universitaire à l'Université du Québec à Montréal. Enfin, toute ma reconnaissance à mon ami Vincent pour avoir su rallumer la flamme de la recherche dans les moments de doute et d'incertitude. DÉDICACE À mes proches, mes amis et amies, à tous ceux· et celles· qui ont participé de près ou de loin à la réalisation de ce travail, ma plus profonde reconnaissance. À Marcelle Ferron, éternelle rebelle : nos chemins auraient pu se croiser entre Clamart et Montréal mais cette rencontre s'est faite à travers·ses œuvres. D'elles je puise un peu de lumière. C'est le reqelle, l'artiste. [. .. ] Moi, je suis rebelle, jusqu'à ma mort, Marcelle Ferron TABLE DES MATIÈRES LISTE DES FIGURES .........................................· ................................... vii RÉSUMÉ ET MOTS-CLÉS ................................. -'··· ............................... xi INTRODUCTION ..........•.................... ; .............................. .- ................. 1 CHAPITRE I ....................· ................................................................... 7 1.1 Refus global et son retentissement dans la société québécoise de l'époque .. 8 1.1.1 Origines et lancement du manifeste automatiste ................................. 8 1.1.2 Portée du manifeste .................................................................... 9 1.1.3 La notion d'égrégore ................................................................. 11 1.2 Refus global : sa visée utopiste sur le plan artistique, politique et social.. ..... 13 1.2.1 Refus global ou la conquête de l'idéal.. ........................................... .13 1.2.2 La vision utopique de la vision automatiste ...................................... .15 1.2.3 Refus global et l'utopie .............................................................. 17 1.2.4 Marcelle Ferron et l'utopie .......... ········~····················· ................. 18 1.2.5 Vers une définition de l'utopie ....................................................20 1.2.6 L'utopie et la ville : rêver d'un ailleurs et se réapproprierla ville ............ 25 1.2.7 Art, engagement et utopie au Québec durant la seconde moitié du xxe siècle ............................................................................... ~ ... 26 1.3. L'adhésion de Marcelle Ferron aux idées automatistes ......................... 30 1.4 Marcelle Ferron et le principe d'utopie ............................................ .33 1.5 Du principe d'utopie à celui de transparence dans les œuvres de Marcelle Ferron ........ ·.................. .- .................................................... 35 V 1.6 Pour une définition - ou plutôt des définitions - de la transparence .......... 36 1.6.1 Le principe de transparence ........................................................ 36 1.6.2 La dimension philosophique et artistique de la transparence ............... .40 1.6.3 La transparence et.le flou ......................................................... .41 1.6.4 La transparence et le reflet ......................................................... .42 1.6.5 La transparence et l'invisibilité .................................................. .44 CHAPITRE II ....................................................................... .- ........... 49 · 2.1 La période des verrières de Marcelle Ferron ................................... 50 2.1.1 Marcelle Ferron: sa quête de transparence et de l.umière .............t ... 50 2.1.2 Le vitrail dans la production de l'artiste ......................................53 2.1.3 La verrière: l'art public comme acte social.. ..........- ...................... 55 2.1.4 Réception de l'œuvre ............................................................60 2.2 Approche sociologique: Marc Augé et Howard Becker. .....................64 2.2.1 Marc Augé et la notion de non-lieu .............•......................... ; .... 64 2.2.2 De la notion de non-lieu à celle de non-temps, de l'espace réapproprié au temps retrouvé .................. :· .. ; ................................... 69 2.2.3 Howard Becker et l'art en tant que produit d'une action collective ....... 75 CHAPITRE III .................................................................................. 81 3.1 Le verre : de sa découverte à aujourd'hui. ..................................... 81 3 .1.1 Les origines ....................................................................... 81 3. 1:2 Murano, l'Allemagne et la Bohème ........................................... 82 3.1.3 Saint-Gobain ........................ -.................... ~ ........................ 83 3.1.4 Tiffany .................... : .................................. _..................... 84 3.2. Rappels historiques sur l'utilisation et l'évolution du vitrail.. ............ 85 3.3 Les réalisations en verre de Marcelle Ferron .................................. 89 3 .4 La station Champ-de-Mars ............................................... 94 3.4.1 Le métro de Montréal.. ......................................................... 95 Vl 3.4.2 Les œuvres d'art dans le métro de Montréal.. .............................. 96 3.4.3 La verrière de la station Champ-de-Mars ..................................... 99 3.4.3.1 ~ontrat et prix ................................................................. 99 3.4.3.2 Analyse formelle de la verrière .................................... .100 3.4.3.3 Rénovations de la verrière et de la station - projets et réalisations ... l 06 CONCLUSION ................................................................................ 112 FIGURES ........................................................................ ; ............. 119 BIBLIOGRAPHIE .................................-._ .......................................... 151 LISTE DES FIGURES Figure Page 1.1 Édicule de la station de métro Champ-de..-Mars (extérieur, de nuit) Source : Société de transport de Montréal (STM) ........................................ 119 1.2 Marcelle Ferron, vitrail de la station de métro Champ-de-Mars Verre antique, (longueur linéaire 60 m x hauteur maximale 9 m ; 2 Superficie 198 m ) Architecte: Adalbert Niklewicz (7 février 2010), source: photo de V. Millet ....... 120 2.1 Marcelle Ferron, vitrail du Palais de justice de Granby (1979), source: https://plateauartsetculture.wordpress.com/2013/l 2/02/marcelle-ferron-%E2%80%A2-epilogue/ ... 121 2.2 Marcelle Ferron, vitrail et sculpture du métro Vendôme (1981) Architectes: Desnoyers, Mercure, Leziy, Gagnon, Sheppard et Gélinas (Vitrail: hauteur 3,3m x largeur 13,3m; sculpture: hauteur 2,3m x Longueur 13,3m x profondeur 2,5m; poids 900 kg) Verre antique et acier inoxydable, (7 février 2010), source: photo de V. Millet ..... 122 2.3 Marcelle Ferron, vitrail et sculpture du métro Vendôme (détail) (1981) (7 février 2010) Source : photo de V. Millet.. ............................................. 123 2.4 Couloir d'entrée de la station Vendôme et passerelle menant à l'œuvre de Marcelle Ferron (accès interdit pour raison indéterminée), (7 février 2010) Source : photo de V. Millet.. ................................................................ 123 2.5 Marcelle Ferron, vitrail de la station de métro Champ-de-Mars (détail) (7 février 2010), source : photo de V. Millet.. ............................................ 124 2.6 Marcelle Ferron, vitrail de la station de métro Champ-de-Mars (détail) (7 février 2010), source : photo de V. Millet.. ............................................ 125 2.7 Marcelle Ferron, vitrail de la station de métro Champ-de-Mars (détail) (7 février 2010), source: photo de V. Millet.. ............................................ 126 3.1 Marcelle Ferron, (Sans titre), Centre d'art Diane-Dufresne, Repentigny (4 février 2016), source: photo de Vincent Arseneau ...................................
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