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La Politica Espositiva Del Musée Du Jeu De Paume Tra 1931 E 1939 Il Caso Di Origines Et Développement De L’Art International Indépendant

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La Politica Espositiva Del Musée Du Jeu De Paume Tra 1931 E 1939 Il Caso Di Origines Et Développement De L’Art International Indépendant Corso di Laurea magistrale in Storia delle arti e conservazione dei beni artistici ordinamento ex D.M. 270/2004 Tesi di Laurea La politica espositiva del Musée du Jeu de Paume tra 1931 e 1939 Il caso di Origines et développement de l’art international indépendant Relatore Ch.ma Prof.ssa Maria Chiara Piva Correlatore Ch.ma Prof.ssa Stefania Portinari Laureando Costanza Ballardini Matricola 853481 Anno Accademico 2015 / 2016 Indice generale 1. Introduzione ............................................................................................................................ 2 2. La nascita e lo sviluppo del Musée des écoles étrangères contemporaines tra anni Venti e Trenta .............................................................................................................................................. 9 2.1. Le origini del Musée du Jeu de Paume ............................................................................ 9 2.2. Il sistema delle arti in Francia dall'inizio della Terza Repubblica al 1930 .................... 10 2.3. Il Musée du Luxembourg, museo dell'art vivant ........................................................... 16 2.4. La prima ristrutturazione del Musée du Jeu de Paume tra 1920 e 1922 ........................ 25 2.5. La trasformazione del sistema delle arti negli anni Trenta ............................................ 30 2.6. Nuovi principi museografici negli anni Trenta, la Conferenza di Madrid del 1934 ...... 36 2.7. I sistemi di presentazione delle collezioni e la gestione del loro ampliamento ............. 43 2.8. Una nuova ristrutturazione al Musée du Jeu de Paume tra 1929 e 1932 ....................... 45 3. La politica espositiva del Musée du Jeu de Paume e lo sviluppo delle collezioni................ 58 3.1. Il programma espositivo negli anni Trenta .................................................................... 58 3.2. Il valore politico delle esposizioni al Musée du Jeu de Paume ..................................... 71 3.3. La creazione e la gestione delle collezioni .................................................................... 83 3.4. L'organizzazione delle esposizioni temporanee ............................................................ 98 L'affluenza ...................................................................................................................... 98 I cataloghi delle esposizioni ......................................................................................... 104 La gestione delle spese ................................................................................................. 107 Le tempistiche di allestimento ..................................................................................... 111 L'apparato pubblicitario ............................................................................................... 112 L'allestimento – il caso di Trois siècles d'art aux États-Unis ....................................... 115 4. Il caso di Origines et développement de l'art international indépendant ........................... 117 4.1. L'arte indipendente all'Esposizione Universale del 1937 ............................................ 117 4.2. L'esposizione Origines et développement de l'art international indépendant al Musée du Jeu de Paume .................................................................................................................... 126 Alcune considerazioni preliminari ............................................................................... 126 Una genesi dubbia ........................................................................................................ 130 Il Comité d'action e altre figure gravitanti attorno all'esposizione............................... 134 Catalogo e concezione teorica ...................................................................................... 142 La selezione delle opere e il sistema dei prestiti .......................................................... 157 La presenza della scultura indipendente nelle sale del Jeu de Paume.......................... 167 Un successo di pubblico e di critica? ........................................................................... 173 4.3. Maîtres de l'art indépendant al Petit Palais ................................................................. 181 4.4. Il carattere internazionale dell'esposizione, un confronto con New York e Monaco... 191 5. Appendice documentaria .................................................................................................... 198 Tabelle e documenti ..................................................................................................... 198 Apparato iconografico .................................................................................................. 216 Catalogo ....................................................................................................................... 294 6. Fonti .................................................................................................................................... 311 Fonti d'Archivio ........................................................................................................... 311 Fonti documentali ........................................................................................................ 313 7. Bibliografia ......................................................................................................................... 320 1 1. Introduzione Il percorso che mi ha condotto alla tesi è inconsapevolmente iniziato più di due anni fa quando, approfondendo lo sviluppo del Musée du Luxembourg in occasione del corso di Museologia, mi sono imbattuta nel Musée du Jeu de Paume in quanto Musée des écoles étrangères contemporaines. Quest'ultimo mi aveva incuriosito per il suo statuto così inusuale di museo nazionale, radicato nel sistema francese ma proiettato verso una dimensione internazionale e spinto a un confronto con l'arte indipendente contemporanea. Al momento di definire i miei interessi per la tesi mi ero orientata verso la scultura d'avanguardia, affascinata da quella trasformazione radicale delle forme e delle tecniche scultoree che aveva iniziato a delinearsi fin dagli anni Dieci del Novecento, sotto l'influenza delle ricerche cubiste. In particolare mi interessava la produzione degli scultori dell'École de Paris quali Lipchitz, Zadkine, Orloff, Archipenko, Gargallo e miravo a studiarne la fortuna e il riconoscimento presso le istituzioni parigine negli anni tra le due guerre. Lo studio delle vicende espositive degli artisti indicati mi ha riportato al Jeu de Paume in quanto unico contesto museale in cui abbia trovato riconoscimento questa produzione nel corso degli anni Trenta. Il progetto di ricerca iniziale prevedeva dunque lo studio specifico della collezione di scultura del Musée du Jeu de Paume ma mi sono presto scontrata con la mancanza di documentazione disponibile sull'argomento. Le ricerche condotte hanno rivelato una significativa lacuna non solo relativa alla collezione di scultura ma più in generale al Jeu de Paume in quanto Musée des écoles étrangères contemporaines. Ho infatti riscontrato la mancanza di studi specifici che analizzino adeguatamente lo sviluppo del museo negli anni Trenta, l'ampliamento delle sue collezioni e la politica espositiva attuata. Chi si è occupato delle singole esposizioni non conosceva lo sviluppo delle collezioni del museo, l'orientamento del conservatore André Dezarrois e il più ampio programma espositivo del Jeu de Paume e dei Musei Nazionali. Mi sono progressivamente appassionata a questa piccola ma fondamentale istituzione, citata a più riprese negli articoli dell'epoca e indicata come esempio museale all'avanguardia. Il Jeu de Paume è stato infatti laboratorio di idee, baluardo dell'arte di avanguardia, luogo di sperimentazioni museografiche e potente strumento istituzionale-politico; tuttavia i saggi che ne parlano dedicano solo qualche paragrafo allo sviluppo del museo negli anni Trenta per concentrarsi invece sulla sua riapertura nel secondo dopoguerra in quanto Musée de l'impressionnisme o sulla sua più recente veste di Museo della fotografia. Ne sono esempio il 2 testo Jeu de Paume di Carlo Munari o il testo di Françoise Bonnefoy Jeu de Paume: histoire1. Bonnefoy analizza lo sviluppo architettonico dell'edificio ma non si sofferma nel dettaglio sulla complessità dei lavori effettuati e sulla loro valenza da un punto di vista museografico. Il saggio accenna solo rapidamente alla molteplicità di esposizioni ospitate negli spazi del museo e alla politica di acquisizioni attuata. Inoltre, i pochi scritti disponibili sul Jeu de Paume rimandano a quanto studiato da Bonnefoy e questo contribuisce a una generale sterilità di informazioni sul tema. Ho avuto l'occasione di condurre la ricerca per la tesi studiando con una borsa Erasmus presso l'Université Sorbonne Paris IV e disponendo degli strumenti di ricerca messi a disposizione dall'università. Ho svolto la ricerca bibliografica principalmente presso la Biblioteca dell'Institut National d'Histoire de l'Art e presso la Biblioteca Kandinsky, sita al Centre Georges Pompidou. In particolare al Centre Pompidou ho avuto modo di consultare diverse riviste d'epoca andando ad integrare quanto ero già stata in grado di reperire grazie al materiale digitalizzato nella banca dati Gallica2. La museografia francese degli anni Trenta è stata ampiamente analizzata stimolando studi e dibattiti a livello internazionale; tuttavia, come anticipato, gli studiosi sembrano
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