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2254-412D-Ac0c-4B14e73616d3.Txt Dépôt Institutionnel de l’Université libre de Bruxelles / Université libre de Bruxelles Institutional Repository Thèse de doctorat/ PhD Thesis Citation APA: Leclercq, C. (1991). Alexander Calder: mobile, couleur et forme (Unpublished doctoral dissertation). Université libre de Bruxelles, Faculté de Philosophie et Lettres, Bruxelles. Disponible à / Available at permalink : https://dipot.ulb.ac.be/dspace/bitstream/2013/212989/2/0928eea3-2254-412d-ac0c-4b14e73616d3.txt (English version below) Cette thèse de doctorat a été numérisée par l’Université libre de Bruxelles. L’auteur qui s’opposerait à sa mise en ligne dans DI-fusion est invité à prendre contact avec l’Université ([email protected]). Dans le cas où une version électronique native de la thèse existe, l’Université ne peut garantir que la présente version numérisée soit identique à la version électronique native, ni qu’elle soit la version officielle définitive de la thèse. DI-fusion, le Dépôt Institutionnel de l’Université libre de Bruxelles, recueille la production scientifique de l’Université, mise à disposition en libre accès autant que possible. Les œuvres accessibles dans DI-fusion sont protégées par la législation belge relative aux droits d'auteur et aux droits voisins. Toute personne peut, sans avoir à demander l’autorisation de l’auteur ou de l’ayant-droit, à des fins d’usage privé ou à des fins d’illustration de l’enseignement ou de recherche scientifique, dans la mesure justifiée par le but non lucratif poursuivi, lire, télécharger ou reproduire sur papier ou sur tout autre support, les articles ou des fragments d’autres œuvres, disponibles dans DI-fusion, pour autant que : - Le nom des auteurs, le titre et la référence bibliographique complète soient cités; - L’identifiant unique attribué aux métadonnées dans DI-fusion (permalink) soit indiqué; - Le contenu ne soit pas modifié. L’œuvre ne peut être stockée dans une autre base de données dans le but d’y donner accès ; l’identifiant unique (permalink) indiqué ci-dessus doit toujours être utilisé pour donner accès à l’œuvre. Toute autre utilisation non mentionnée ci-dessus nécessite l’autorisation de l’auteur de l’œuvre ou de l’ayant droit. ------------------------------------------------------ English Version ------------------------------------------------------------------- This Ph.D. thesis has been digitized by Université libre de Bruxelles. The author who would disagree on its online availability in DI-fusion is invited to contact the University ([email protected]). If a native electronic version of the thesis exists, the University can guarantee neither that the present digitized version is identical to the native electronic version, nor that it is the definitive official version of the thesis. DI-fusion is the Institutional Repository of Université libre de Bruxelles; it collects the research output of the University, available on open access as much as possible. The works included in DI-fusion are protected by the Belgian legislation relating to authors’ rights and neighbouring rights. Any user may, without prior permission from the authors or copyright owners, for private usage or for educational or scientific research purposes, to the extent justified by the non-profit activity, read, download or reproduce on paper or on any other media, the articles or fragments of other works, available in DI-fusion, provided: - The authors, title and full bibliographic details are credited in any copy; - The unique identifier (permalink) for the original metadata page in DI-fusion is indicated; - The content is not changed in any way. It is not permitted to store the work in another database in order to provide access to it; the unique identifier (permalink) indicated above must always be used to provide access to the work. Any other use not mentioned above requires the authors’ or copyright owners’ permission. ANNEXE I 674.305 annexe 1 452 ANNEXE I 453 Mon texte s'adjoint trois annexes. La première s'assortit d'une sélection d'oeuvres. Ayant choisi de traiter particulièrement les oeuvres tridimensionnelles peintes, le champ d'investigation se reserre un peu. Malgré cette restriction, de très nombreuses sculptures -Calder lui-même avoue au moins deux mille mobiles- se proposent à l'étude. Le nombre de réalisations qu'il m'a été donné d'examiner approche le millier. Toutes ne pouvaient pas s'inscrire dans ce travail, sous peine de le transformer en catalogue. Mais elles m'ont permis d'opérer un tri, duquel ont pu émerger les oeuvres les plus représentatives, et elles m'ont aussi permis de respecter, pour chaque catégorie un équilibre quantitatif. Les oeuvres sélectionnées sont présentées chronologiquement par genre, à savoir: mobile, mobile sur pied, stabile et stabile/mobile. Lorsque j'ai pu les photographier ou en obtenir un cliché, leur titre , dans la langue originale, s'accompagne d'une référence (une lettre et un chiffre) qui permet de retrouver l'oeuvre dans l'Annexe II. Leur fiche signalitique se dispose de la manière suivante: la date de création (ou, pour les oeuvres de grandes tailles, la date de la commande), les dimensions (lorsque j'ai pu rassembler toutes les données, les dimensions sont données dans l'ordre suivant: hauteur, largeur, profondeur), la matière, les couleurs (et en fonction des catégories, la couleur du pied ou de la base), les couleurs des tiges et l'endroit de conservation. Souvent, ce dernier point est absent. D'abord parce que beaucoup de sculptures appartiennent à des galeries ou des marchands (entre le moment où je les ai vues 454 et aujourd'hui, certaines ont changé de main), ensuite parce qu'un non moins grand nombre sont la propriété de collectionneurs privés qui ne souhaitent pas se faire connaître. L'Annexe I rassemble aussi des documents, qui, de par leur contenu et leur présentation n'ont pas pu trouver de place dans le texte soit parce qu'en le coupant ils auraient entraver la lisibilité de celui-ci, soit, parce qu'à cause de leur sémantique, ils se situent à sa périphérie. La présence de ces archives, qui se trouvent un peu en marge du propos principal, est indispensable. En effet, celles-ci illustrent ou expliquent un sujet et fournissent un complément d'information. ★ * L'Annexe II présente un choix d'illustration dans deux fardes séparées. Dès le départ, j'ai opté pour des ektachromes -le rendu des couleurs est plus fidèle à la réalité- plutôt que pour des photographies. Les ektachromes sont classés chronologiquement et par genre. Tous mentionnent trois renseignements: un nom, une date et un numéro de référence qui accompagne, dans le texte, le titre des oeuvres. La première farde contient une sélection de mobiles (M), de mobiles sur pied (MP), de stabiles (S) et de stabiles/mobiles (S/M). La seconde comporte un choix de constellations (C), de 455 mobiles motorisés (Mm) et accueille un département "divers" (D) . Ce secteur contient quelques exemples de bijoux, de gouaches, de lithographie,... et atteste de la diversité des moyens d'expression utilisés par Calder. Cette partie compte également quelques mobiles et stabiles dont je n'ai pu obtenir les reproductions que très récemment. * ★ * L'Annexe III se compose d'un dépliant dont le but est de donner une idée de la répartition des couleurs et de leur fréquence au cours de quarante six ans d'activité. Ce relevé, même s'il est nécessairement approximatif à néanmoins une valeur autorisée. Quelque peu imprécis, ce graphique l'est sûrement parce que toutes les oeuvres de l'artiste n'y ont pas été inclues (techniquement la confection d'un pareil document est malaisé). Toutefois, on peut l'accréditer tel quel parce que les réalisations retenues l'ont été en fonction de leur qualité, de leur caractère représentatif. 456 MOBILES Une boule noire, une boule blanche (DIO) 1930; 242 x 84cm; Métal, acier et bois peints; Noir, Blanc, (écuelles rouges). Fils non peints. Fondation Maeght, Saint- Paul de Vence. Cône d'ébène (Ml) 1933; 250 x 110cm; Ebène, métal et fil de fer. Untitled (M2) 1934; 93 x 97cm; Fil d'acier, verre, métal, céramique. Untitled ca 1934; 89 x 63cm; Fil de fer, fil ,bois; Jaune, Blanc, Noir, Rouge; Tiges noires. Untitled (M3) 1936; 243,8 x 162,6cm; Tessons, fil de fer. Tiges en bois. La baleine et le baleineau ca 1937 - 1939; 180cm; Métal, ficelles et bois peint; Noir, Jaune, Rouge, Bleu, Blanc;Tige de bois jaune, ficelles noires; Collection privée. Lobster trap and fish tail (M4) 1939; 290cm; Métal peint et fil de fer; Rouge, Noir, Jaune;Tiges noires et fil de fer non peint; Muséum of Modem Art, New York. Fishbones 457 1939; 207 x 192 x 137cm; Tôle et fil de fer peints; Bleu, Blanc, Jaune, Rouge, Noir, Orange; Tiges oranges, rouges et noires; Centre Georges Pompidou, Musée National d'Art Moderne, Paris. The snake and the cross (M6) ca 1940; 97 x 66 x 33cm; Métal peint et ficelle peinte; Rouge, Jaune, Bleu, Orange;Ficelle rouge. Jonas dans le ventre de la baleine ca 1940; 70 x 112cm; Armature de métal peint, fil de fer peint et métal non peint; Rouge et feuilles non peintes. Mobile aixx deux poissons (M5) ca 1940; 76 x 86cm; Tiges métalliques, ficelle, verre; Diverses couleurs; Collection privée, New York. Mobile with red wires (M7) ca 1942; 40 x 110cm; Métal peint et fil de fer; Rouge, Blanc, Noir, Jaune; Tiges rouges. Collection privée, New York. Fish (M8) ca 1942; 92,7 x 38cm; Armature de métal, fil de fer, ficelle, bois, tessons. France for ever (M9) 1944; 180 X 170cm; Métal peint, ficelle et bois peint; Noir, Rouge, Blanc, Bleu, Jaune;Tiges de bois rouges. Chagall Mobile (MIO) 1944; 115cm; Métal peint et fil de fer; Vert, Bleu, Rouge, Jaune, Noir;Tiges noires. Collection privée, Paris. 458 Yellow sickle moon (Mil) 1945; 96,5cm; Métal peint et fil de fer; Rouge, Noir, Jaune;Tiges rouges.
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