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La Modernité Esthétique Chez André Malraux : La Quête Du “Primitif”

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La Modernité Esthétique Chez André Malraux : La Quête Du “Primitif” University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2011 La modernité esthétique chez André Malraux : La quête du “primitif” Yulia Draganova Kovatcheva [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the French and Francophone Language and Literature Commons Recommended Citation Kovatcheva, Yulia Draganova, "La modernité esthétique chez André Malraux : La quête du “primitif”. " PhD diss., University of Tennessee, 2011. https://trace.tennessee.edu/utk_graddiss/1091 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Yulia Draganova Kovatcheva entitled "La modernité esthétique chez André Malraux : La quête du “primitif”." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. John B. Romeiser, Major Professor We have read this dissertation and recommend its acceptance: Timothy Hiles, Mary McAlpin, Eric Koch Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) La modernité esthétique chez André Malraux : La quête du “primitif” A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Yulia Draganova Kovatcheva August 2011 Copyright © 2011 by Yulia Draganova Kovatcheva All rights reserved. ii DEDICATION To my son, Dilian, and my husband, George iii ACKNOWLEDGEMENTS In the researching, writing, and producing of this dissertation I have incurred too many debts to too many people. I would like to thank for the completion of this dissertation to my adviser, Dr. John Romeiser, whose enthusiasm about André Malraux was a major force in bringing this wonderful writer into my life. Without him I would never have started this dissertation, let alone finished it. My thanks and appreciation to my committee members for the critical reading, the unflagging support, and encouragement for the completion of this project: I am indebted to Dr. Mary McAlpin, Dr. Eric Koch, and Dr. Timothy Hiles. A particular thanks to Dr. Karen Levy who generously lent me materials on Malraux and for her inspiring conversations. I am indebted to Moncef Khemiri, Professor at the University of Manuba in Tunisia, for providing commentary that clarified some key points of detail in my prospectus and for his encouragement, to Jean-François Durand and Michel Boissard, Professors at the University Paul-Valéry III of Montpelier, in France, who generously shared both their responses to my ideas, and to my friend Dr. Isabelle Chikhaoui-Berry who made these discussions possible. I am extremely grateful to my colleagues and friends, Dr. Kodjo Adabra and Mr. Amevi Augustin Bocco for their constant moral support, and to Dr. Awa Sarr for her friendship and support. I have also benefitted from the kindness of many librarians and University of Tennessee staff, who have helped in my research and producing the dissertation. iv ABSTRACT André Malraux is a prolific French writer, adventurer, art historian, statesman, and Minister of Cultural Affairs for 11 years (1958-1969). Malraux was a man of action in the service of noble causes. In 1933, one of Malraux's most famous novels, La Condition humaine (Man's Fate), was published. It won the Goncourt Prize and established his international reputation. Born on November 3, 1901 in Paris, he was a son of the 20th century. A witness to the history of his century, he left to the future generations a literary heritage of great importance. His main preoccupation was the “mystery of man” and art. The notion of man and his destiny is at the core of Malraux’s prolific work. The original and essential part of his literary work is the reflection on art. In my dissertation: La modernité esthétique chez André Malraux: La quête du “primitif,” I explore the enigmatic nature of the concept of the “primitive” in art history context and according to Malraux’s writing. My approach is to examine and analyze the multiple facets of the metamorphosis in time and space of the “primitive,” according to Malraux’s writing, and to find out how his “essential man” fits with the idea of “primitive” art. Through later research, I hope to deepen the theme of the “primitive” in Malraux’s writing and end up with a comprehensive study of Malraux and modern artists like Braque, Chagall, and Picasso, among other artists, examining their relation with Malraux and his relation to modern art, always analyzing his thoughts regarding the “primitive”. v TABLE DES MATIERES INTRODUCTION 1 Paragraphe Préliminaire 1 Intérêt pour le sujet 12 PREMIERE PARTIE : A la recherche d’une voix esthétique 16 Chapitre Premier: Les premiers pas de Malraux dans les années 1920 à Paris 16 Deuxième Chapitre : Malraux, critique de la poésie cubiste : Des origines de la poésie cubiste1920 ; Débuts de critique d’art 44 Troisième Chapitre : Expériences cubistes de Malraux 58 Quatrième Chapitre : Malraux et Apollinaire 72 DEUXIEME PARTIE : Malraux et le “primitif” 95 Chapitre Premier : Le concept du “primitif” et la réflexion de Malraux 95 Deuxième Chapitre : La relation du cubisme avec le “primitif” 109 Troisième Chapitre : La rencontre de Malraux avec l’art africain. La sculpture africaine 130 Quatrième Chapitre : L’écrivain et l’artiste devant l’énigme du masque. Le sacré 142 TROISIEME PARTIE : Le “primitif” et la permanence de l’homme 158 Chapitre Premier : Lascaux : une interrogation de l’homme et de l’impulse créatif 159 Deuxième Chapitre : La création artistique et la continuité de l’homme : Le Petit Bonhomme des Cyclades 170 Troisième Chapitre : De “l’homme fondamental” au fondamental de l’homme 178 Quatrième Chapitre : Le dernier voyage de Malraux en Haïti. L’art de Saint-Soleil 198 CONCLUSION 224 Bibliographie 232 Crédits Photographiques 246 Appendis 247 Vita 260 vi Introduction Partie préliminaire Une part originale et essentielle de l’œuvre de Malraux – la réflexion sur l’art – est plutôt une interrogation personnelle de la condition humaine et du destin. Le “primitif” est profondément lié à l’homme et à “l’âge fondamental” dont il est question dans L’Espoir, à “l’homme éternel” des Noyers de l’Altenburg, et à la condition humaine dans les romans et les écrits sur l’art de Malraux. C’est à travers les écrits sur l’art et l’œuvre romanesque qu’il faut reconstituer et expliquer le cheminement du “primitif.” L’art apparaît dès les premières lignes que Malraux écrit en 1920 et persiste dans tous ses ouvrages. L’analyse de l’écriture de Malraux sur l’art nègre qui a influencé sans doute les peintres cubistes sera un point crucial de notre thèse. Découvrir et analyser ce qui se cache sous le mot énigmatique de “primitif” qui, selon Malraux, relie les peintres du XVIe siècle, ceux des cavernes et les sculpteurs océaniens, est le but essentiel de cette thèse. C’est par le concept de la métamorphose, prédominant dans les œuvres et la pensée de Malraux, que l’auteur met l’accent sur l’influence des arts primitifs sur notre vision d’art dans Le Musée Imaginaire. Dès 1922, Malraux précise un des points essentiels de sa méthode, qui lui vaudra tant de remarques ironiques de critiques enfermés dans leur spécialité. Nous ne pensons que par comparaison, dit Malraux, et on connaît mieux l’art grec par l’opposition d’une statue grecque à une statue égyptienne que par l’étude de cent statues grecques. Et il écrit dans La Métamorphose des dieux, évoquant le besoin de comparaison et d’opposition en art pour révéler le rôle de l’art nègre sur les peintres modernes : 1 L’Europe a découvert l’art nègre lorsqu’elle a regardé des sculptures africaines entre Cézanne et Picasso, et non des fétiches entre des noix de coco et des crocodiles. Elle a trouvé la grande sculpture de Chine à travers les figures romanes, non à travers les chinoiseries. (p. 20-21). Le mot “primitif,” parmi beaucoup d’autres, a un sens considérablement large. Alors, quand de tels mots sont utilisés, une définition du sens et de l’usage est nécessaire. Selon Paul Wingert (1962), beaucoup de définitions du “primitif” existent dans des domaines différents : l’ethnologie, l’ethnographie, l’anthropologie, et l’archéologie, mais le manque d’une définition claire contribue à la confusion autour du mot “primitif.” Ce qui est évident, par exemple, quand les anthropologues et les archéologues utilisent le terme désignant les cultures hors des sphères de l’influence de l’ainsi dite “grande civilisation.” Par conséquent, il est nécessaire de faire une distinction entre la grande civilisation ou les hautes cultures et les cultures des peuples primitifs. Wingert souligne la nécessité d’accepter le “primitif” comme un terme raisonnable pour rendre clair que son usage en désignant ces cultures doit être bien compris.1 Quelques années plus tard, en 1969, Robert Goldwater écrit que le terme “primitif” n’a plus de sens. Il est très utile comme un terme conventionnel de référence, mais il est épuisé de son contenu original. “It is now clear, continue Goldwater, that the ‘primitive cultures’ are not what they were once thought to be – the early, arrested stages of a generally uniform social evolution leading to ‘higher cultures.’” 2 1 Wingert, Paul S. Primitive Art. New York: Oxford University Press, 1962, p.
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