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Toulouse-Lautrec UNIVERSIDADE DE SÃO PAULO PROGRAMA DE PÓS-GRADUAÇÃO INTERUNIDADES EM ESTÉTICA E HISTÓRIA DA ARTE LILIAN DALILA TRINDADE DE CAMARGO PAPINI Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) São Paulo 2015 LILIAN DALILA TRINDADE DE CAMARGO PAPINI Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) Dissertação apresentada ao Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo para obtenção do título de mestre. Orientação: Profª. Drª. Ana Gonçalves Magalhães Agência de Fomento: FAPESP São Paulo 2015 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL E PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação da Publicação Biblioteca Lourival Gomes Machado Museu de Arte Contemporânea da Universidade de São Paulo Papini, Lilian Dalila Trindade de Camargo. Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) / Lilian Dalila Trindade de Camargo Papini ; orientadora Ana Gonçalves Magalhães. -- São Paulo, 2015. 177 f. : il. Dissertação (Mestrado – Programa de Pós-Graduação Interunidades em Estética e História da Arte) -- Universidade de São Paulo, 2015. 1. Pós-Impressionismo – França. 2. Acervo Museológico – Brasil. 3. Toulouse- Lautrec, Henri de, 1863-1901. 5. Museu de Arte de São Paulo Assis Chateaubriand. I. Magalhães, Ana Gonçalves. II. Título. CDD 759.056 Nome: PAPINI, Lilian Dalila Trindade de Camargo Título: Toulouse-Lautrec no Museu de Arte São Paulo (MASP) Dissertação apresentada ao Museu de Arte Contemporânea da Universidade de São Paulo para obtenção do título de Mestre em Estética e História da Arte: Aprovado em: Banca Examinadora: Profa. Dra. Lisbeth Ruth Rebollo Goncalves - Instituição: Universidade de São Paulo Julgamento: ___________________ Assinatura: ___________________ Prof. Dr. Jorge Sidney Coli Junior - Instituição: Universidade Estadual de Campinas Julgamento: ___________________ Assinatura: ___________________ Profa. Dra. Letícia Coelho Squeff - Instituição: Universidade Federal de São Paulo Julgamento: ___________________ Assinatura: ___________________ Profa. Dra. Helouise Lima Costa - Instituição: Universidade de São Paulo Julgamento: ___________________ Assinatura: ___________________ Profa. Dra. Ana Paula Cavalcanti Simioni - Instituição: Universidade de São Paulo Julgamento: ___________________ Assinatura: ___________________ Profa. Dra. Fernanda Mendonça Pitta – Instituição: Pinacoteca do Estado de São Paulo Julgamento: ___________________ Assinatura: ___________________ Souvent, je me suis demandé quelle chose était le plus facile à reconnaître: la profondeur de l'océan ou la profondeur du cœur humain ! Lautréamont, 1869, em Les Chants de Maldoror, Chant 1. – AGRADECIMENTOS – Aos meus irmãos, Darcy e Igor, pelo carinho e apoio incondicional. À minha avó Isabel, pelos abraços que nos salvam. À Aline Olmos, à Maíra Pagliuso, a Rafael Pires e a Renan Pfister, pela amizade que ultrapassa tempo e espaço; por estarem sempre comigo. À Dunia Roquetti, por tudo que compartilhamos: de cafés aos desesperos. Aos sempre queridos, que estão espalhados pelo mundo, mas nunca distantes: Ana Clara Galindo, Carol Marra, Mônica Bulgari, Miriam Kajiki, Maria Guillermina Torres, Joice Portes, Gleiton Bonfante, Maiara Menezes, Marú. A todos os amigos de Paris, por tantos momentos especiais: Alex Bredariol, Jennifer Serra, Jason Kavett, Juliana Carneiro e Pol van de Wiel. Em especial, a Alice Berger, pela amizade e por me receber sempre tão bem. A Willem Girond, pelo companheirismo e carinho. A Bruno Pinheiro e a Mateus Pavan, pela troca de tantas ideias do mundo incrível das imagens. A Max Packer, pelos cafés, pelas músicas e pela companhia em muitas horas na biblioteca. Às meninas da USP: Renata Rocco, Marina Barzon e Camila Silva, pelas reuniões, almoços e risadas, por tornarem o caminho mais leve. Aos funcionários do MASP, sempre muito prestativos e atenciosos. Aos funcionários do MAC: Águida, Joana, Sara, Andreia, Paulo e Tobita, pela atenção com todos os problemas criados e resolvidos. À querida professora Inés Joekes e ao professor Renato Brolezzi, pelo apoio e incentivo para tentar o mestrado. Ao professor Thierry Dufrêne, por me receber em Paris e ter dado tanta atenção ao meu trabalho. À professora e orientadora Ana Magalhães, por abrir minha porta para história da arte em 2007, por acreditar e incentivar meu projeto. À FAPESP pela concessão da bolsa no país e da bolsa de pesquisa no exterior. Muito obrigada ! – RESUMO – PAPINI, L. D. T. C. Toulouse-Lautrec no Museu de Arte de São Paulo (MASP). 2015. 177 f. Dissertação (Mestrado) Museu de Arte Contemporânea, Universidade de São Paulo, São Paulo, 2015. Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu. Palavras-chaves: Toulouse-Lautrec, MASP, Pintura Francesa, Coleções, Pós- impressionismo. – ABSTRACT – PAPINI, L. D. T. C. Toulouse-Lautrec no Museu de Arte de São Paulo (MASP). 2015. 177 f. Dissertação (Mestrado) Museu de Arte Contemporânea, Universidade de São Paulo, São Paulo, 2015. Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist's journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum's collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist's life, as well as issues posed by the trajectory of these works to the museum. Keywords: Toulouse-Lautrec, MASP, French Painting, Collections, Post- Impressionism. – SUMÁRIO – INTRODUÇÃO ................................................................................................................... 1 CRONOLOGIA ................................................................................................................. 5 CAPÍTULO 1 - A recepção das obras de Toulouse-Lautrec do MASP no início do século XX. ........................................................................................................................ 8 1.1. COLEÇÃO LEO E GERTRUDE STEIN ..................................................................................... 8 1.2. COLEÇÃO OTTO GERSTENBERG, GRANDE COLECIONADOR DE OBRAS DE TOULOUSE- LAUTREC .................................................................................................................................. 27 CAPÍTULO 2 - A chegada do conjunto de obras de Toulouse-Lautrec no MASP . 38 CAPÍTULO 3 - Toulouse-Lautrec no MASP: análises das obras ................................ 47 3.1. O CÃO, ESBOÇO DE TOUCO (vers 1880-1881) ................................................................. 47 3.2. MADAME LA COMTESSE ADÈLE DE TOULOUSE-LAUTREC AU JARDIN DE MALROMÈ (vers 1883-1884) .............................................................................................................................. 62 3.3. MONSIEUR FOURCADE (1889) ......................................................................................... 81 3.4. MULHER SE PENTEANDO (DUAS MULHERES EM CAMISOLA) (1891) .............................. 96 3.5. MONSIEUR LOUIS PASCAL VISTO DE COSTAS (1891) ..................................................... 104 3.6. A BAILARINA LOÏE FULLER VISTA DOS BASTIDORES (A RODA) (1893) ........................... 111 3.7. O DIVÃ (1893) ................................................................................................................. 120 3.8. HOMEM COM URSO (1893) ........................................................................................... 134 3.9. ARTISTA COM LUVAS VERDES (A CANTORA DOLLY DO STAR DE LE HAVRE) (1899) ...... 147 3.10. RETRATO DE OCTAVE RAQUIN (1901) .......................................................................... 156 3.11. PAUL VIAUD EM ALMIRANTE DO SÉCULO XVIII (O ALMIRANTE VIAUD) (1901) .......... 161 CONSIDERAÇÕES FINAIS ............................................................................................ 168 BIBLIOGRAFIA .............................................................................................................. 171 – INTRODUÇÃO – Ho sempre avuto la sensazione che Toulouse-Lautrec fosse mio fratello e mio amico. Forse perché Lautrec ha intuito, prima dell'invenzione dei fratelli Lumière, le inquadrature e le schematizzazioni del cinema, ma probabilmente anche a causa dell'attrattiva che il pittore ha sempre sentito per gli esseri diseredati o disprezzati, per coloro che le persone per bene chiamano viziosi. È difficile capire chi ci ha ispirato durante tutta la nostra carriera. Ma io so di non aver mai guardato con indifferenza un quadro, un manifesto o una litografia di Lautrec e che il suo ricordo non mi ha mai abbandonato. Questo aristocratico detestava il "bel mondo" e credeva che i fiori più belli e più puri spuntassero sui
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