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La Collection Du Musée Du Quai Branly ÉCOLE DU LOUVRE Stéphanie LECLERC Les collections fidjiennes conservées en France L’exemple des collectes Dumont d’Urville Volume I Mémoire de recherche (2nde année de 2ème cycle) en histoire de l'art appliquée aux collections sous la direction de M. Philippe PELTIER, conservateur en chef (Musée du Quai Branly) [Juin 2008] LES COLLECTIONS FIDJIENNES CONSERVEES EN FRANCE L’EXEMPLE DES COLLECTES DUMONT D’URVILLE VOLUME I 2 ÉCOLE DU LOUVRE Stéphanie LECLERC Les collections fidjiennes conservées en France L’exemple des collectes Dumont d’Urville Volume I Mémoire de recherche (2nde année de 2ème cycle) en histoire de l'art appliquée aux collections sous la direction de M. Philippe PELTIER, conservateur en chef (Musée du Quai Branly) [Juin 2008] 3 Avant-propos Enjeux et historique de la recherche Les collections fidjiennes conservées en France. J’ignore si l’on perçoit, derrière le titre général que j’ai choisi cette année pour mon mémoire de recherche, l’immensité de son sujet. C’est pourtant cette ampleur que j’ai d’abord voulu mettre en avant. Cette étude, en effet, est construite comme une partie d’un tout. Le travail de recherche dont il est ici question n’a pas débuté avec le présent mémoire et ne s’achèvera pas avec lui, du moins je l’espère. Ce contexte est fondamental. Il justifie mes démarches, conditionne mes choix et mon raisonnement. Les objets fidjiens du Musée du Quai Branly. Le sujet proposé en octobre 2006 aux élèves de Master I de l’Ecole du Louvre, dans le cadre du groupe de recherche sur les collections extra-européennes, était déjà vaste. Par chance, les conseils de mon professeur, Magali Mélandri, chargée des collections océaniennes au Musée du Quai Branly, m’ont permis de l’affiner. J’ai consacré l’année scolaire 2006-2007 à l’étude de la collection fidjienne ancienne du Musée du Quai Branly, celle en dépôt du Musée d’Archéologie Nationale de Saint-Germain-en-Laye. De ce travail a résulté un mémoire d’histoire des collections, retraçant le parcours de près de 160 objets à travers les réserves et les expositions de cinq musées de région parisienne, le Musée de Marine du Louvre, le Musée des Antiquités Nationales de Saint-Germain-en-Laye aujourd’hui Musée d’Archéologie Nationale, le Musée d’Ethnographie du Trocadéro devenu Musée de l’Homme en 1936, le 4 Musée National des Arts d’Afrique et d’Océanie et, enfin, le Musée du Quai Branly1. Un premier travail de recherche est toujours, j’imagine, une expérience fondatrice. Frustrant à bien des égards, en raison notamment des contraintes de temps et de rédaction qui nous étaient imposées (55 pages tout au plus), le mien fut pourtant passionnant, enrichissant et prometteur. 160 objets, cinq musées, 55 pages, octobre 2006 - avril 2007, la quadrature du cercle à résoudre en somme. Cependant, 56 pages plus tard (sans commentaire), 248 pages en comptant les annexes, j’avais appris énormément sur la recherche en histoire de l’art et en histoire des collections, sur ses outils, ses méthodes, ses pièges et ses difficultés, sur mes goûts et mes aptitudes en la matière et, surtout, sur mon sujet. Les collections fidjiennes conservées en France n’ont été, jusqu’à présent et à ma connaissance, l’objet d’aucune étude spécifique. Parmi elles se trouvent pourtant des pièces anciennes, collectées très tôt au regard de l’histoire des îles Fidji et, en particulier, de leur contact avec les Européens. Des objets exceptionnels, rares, précieux et méconnus sont conservés dans les réserves des musées français. Une part infime est exposée. Par leur caractère atypique ou, au contraire, commun, ils témoignent de la société fidjienne du « contact » et de son évolution, de l’histoire de ces îles autant que des motivations et des préoccupations européennes dont ils furent l’objet. Les pièces les plus anciennes, par exemple, illustrent ce caractère historique fondamental. En effet, outre le goût et le traitement de ce type d’objets en France et en Europe, elles témoignent de probables premières collectes, indirectes, faites aux îles Tonga à la fin du XVIIIème siècle, avant que les îles Fidji ne fussent explorées par quelque Européen que ce soit2. Les artefacts fidjiens alors collectés par Antoine Bruni d’Entrecasteaux ou, peut-être même, par l’illustre capitaine anglais James Cook, témoignent de la société fidjienne pré-contact et vont de pair avec les premières informations « d’ethnographie » fidjienne relevées par les explorateurs européens. Ils attestent aussi les liens qui unissent les îles Tonga aux îles Fidji de longue date et qui sont une clé de compréhension essentielle lorsqu’on aborde l’étude de l’art fidjien. Ces contacts, en effet, brouillent souvent les pistes du chercheur, rendant difficiles notamment les attributions de provenance de certaines pièces, fruits et objets de la communication inter-îles qui, au-delà des îles Fidji et Tonga, se déploie dans 1 Voir LECLERC, Stéphanie. Les objets fidjiens du Musée du Quai Branly, dépôt du Musée des Antiquités Nationales de Saint-Germain-en-Laye. Paris : Ecole du Louvre, 2007. Mémoire d’étude de Master I, sous la direction de Madeleine Leclair (Musée du Quai Branly). Mémoire disponible en version papier à la bibliothèque de l’Ecole du Louvre, à la bibliothèque du Musée d’Archéologie Nationale de Saint-Germain-en-Laye et en version électronique au service de la documentation muséale des collections du Musée du Quai Branly. 2 Idem, p. 15-16. 5 toute la Polynésie occidentale. Ces collectes ont donc une place de premier ordre dans l’histoire des collections et de l’art fidjien. Leur seul exemple suffit, j’espère, à souligner l’intérêt et les enjeux de l’étude des collections fidjiennes françaises. Reste à la mettre en œuvre. Méthode, objectifs et difficultés de la recherche Mon précédent mémoire m’a confronté à un corpus d’objets nombreux et, surtout, disparates par leurs origines, certains provenant de cabinets savants de la croisée des XVIIIème et XIXème siècles, d’autres déposés au Musée de Marine du Louvre par des navigateurs, illustres ou méconnus, d’autres encore achetés sur le marché de l’art ou cédés au Musée des Antiquités Nationales à la fin du XIXème siècle. Reconstituer leur histoire ne fut pas chose aisée, car, si les inventaires et les archives des institutions muséales ont permis de retracer intégralement leur parcours depuis leur entrée dans le domaine public, il n’a pas toujours été possible de déterminer leur origine ou leur contexte de collecte. La diversité des modes d’acquisition et cette question de la collecte de « terrain » m’ont dès lors parues essentielles. Aussi, formée à l’usage des archives et des inventaires mais désappointée par la difficulté et les résultats d’un tel travail, j’ai jugé qu’il serait pertinent de changer d’angle d’approche, en m’en tenant néanmoins à l’étude des collections publiques françaises. C’est pourquoi j’ai choisi, cette année, de m’intéresser non à la collection d’un musée en particulier, mais de me pencher sur une collecte. Au retour de chacune des deux expéditions scientifiques qu’effectue le navigateur Jules Sébastien César Dumont d’Urville, en 1826-1829 puis 1837-1840, des objets océaniens sont rapportés. Certains viennent illustrer les exploits de la Marine française en grossissant les collections de Musée de Marine du Louvre. Parmi ceux-ci, sont les objets qui constituent la plus grande part du corpus que j’ai étudié précédemment. Mais, en reconstituant leur histoire je me suis rapidement aperçue qu’ils appartenaient à un ensemble plus large d’artefacts collectés par Dumont d’Urville et ses équipages à Fidji, lors des deux voyages qu’il commande, et déposés, non seulement à Paris, au Musée de Marine du Louvre, mais aussi dans d’autres institutions, Musées de beaux-arts ou d’histoire naturelle, dans toute la 6 France, selon les attaches et les affinités des marins3. Ainsi, soucieuse à la fois de travailler dans la continuité de mes recherches et de renouveler ma démarche scientifique, j’ai choisi cette année de traiter des objets collectés à Fidji lors des deux voyages de J.S.C. Dumont d’Urville et aujourd’hui conservés dans des collections publiques en France. L’année dernière, je me suis heurtée au nombre, à la dispersion et à la pluralité des sources consultables, à la difficulté du travail de synthèse que représente la rédaction d’un mémoire sur un sujet vaste et dense, dans mon cas, en plus, alourdi par une problématique très ambitieuse – l’interrogation de mon objet d’étude sous l’angle de l’histoire du regard porté sur les pièces ethnographiques en France de la fin du XVIIIème siècle à nos jours. En a résulté un mémoire double composé, d’une part, du texte, axé sur l’histoire des musées et du regard, et, d’autre part, des annexes, consacrées en majeure partie aux objets eux-mêmes. Ce résultat, par ailleurs le fruit d’un énorme travail, est dû aux contraintes matérielles auxquelles j’ai eu du mal à me plier, à une mauvaise évaluation de l’ampleur de mon sujet et des sources primaires et secondaires qui s’y attachent, à l’inexpérience en somme. Ce résultat est heureusement perfectible et j’espère avoir tiré les leçons de ces erreurs. Cette année, pourtant, j’ai abordé un objet de recherche non moins large et complexe. La différence réside dans l’ambition de ce que j’ai voulu faire et dans l’évaluation de mes capacités à traiter ce sujet. Tout d’abord j’ai défini une problématique plus appropriée à un travail de ce type.
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