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L'art De Propagande En Espagne, De La Seconde

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L'art De Propagande En Espagne, De La Seconde Université de Montréal L’art de propagande en Espagne, de la Seconde République au premier franquisme : affiches et portraits officiels par Myriam Barriault Fortin Département d’histoire de l’art et études cinématographiques Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maitre ès Arts (M.A) en histoire de l’art Février 2014 © Myriam Barriault Fortin, 2014 Université de Montréal Faculté des études supérieures et postdoctorales Ce mémoire intitulé : L’ART DE PROPAGANDE EN ESPAGNE, DE LA SECONDE RÉPUBLIQUE AU PREMIER FRANQUISME : AFFICHES ET PORTRAITS OFFICIELS Présenté par : Myriam Barriault Fortin A été évalué par un Jury composé des personnes suivantes : Nicole Dubreuil, président-rapporteur Suzanne Paquet, directrice de recherche Todd Porterfield, membre du Jury ii Résumé Ce mémoire interroge les différences esthétiques maJeures entre les productions artistiques issues de la Seconde République espagnole (1931 - 1939) et l'art franquiste de la première décennie du régime. Ces différences sont examinées à partir d’œuvres de deux artistes ; Josep Renau (1907 - 1982) et Ignacio Zuloaga (1870- 1945). Renau est une figure importante dans le milieu artistique de la République pendant la Guerre civile. Nous analysons les différentes productions à vocation propagandiste réalisées par Renau entre 1931 et 1939. Zuloaga est un artiste reconnu par l’élite européenne pour ses portraits et pour ses scènes andalouses et castillanes. Zuloaga appui le coup d’État et l’idéologie franquiste. Le Caudillo lui commande, en 1939, le portrait que nous examinons. Les théories de François Hartog, de Reinhart Koselleck, de Paul Ricœur et de Hannah Arendt sont utilisées pour expliciter la confrontation des conceptions historiques dont les œuvres examinées sont des témoignages. Sous la République c’est le régime moderne de l’histoire qui est actif. Les références historiques utilisées sont proches dans le temps et l’histoire se construit dans un futur en lien avec l’idée du progrès. Pour le franquisme, la conception de l’histoire s’apparente à l’Historia magistra où le passé a une valeur d’exemple. Un retour au passé glorieux de l’Espagne (le Moyen Âge, le Siècle d’Or et la Contre-Réforme) est clairement revendiqué, afin de guérir le pays des maux de la modernité. C’est à partir de ces différentes de conceptions historiques que nous comparons les spécificités esthétiques des œuvres, les références identitaires et historiques employées et les médiums utilisés aux fins de légitimer le pouvoir et les actions politiques de chacun des fronts. Mots-clés : Josep Renau ; Ignacio Zuloaga ; régimes d’historicités ; Art de propagande ; Espagne iii Abstract This thesis questions the major esthetic differences between the artistic productions of the Second Spanish Republic (1931-1939) and the nationalist artistic productions of the Civil War years and the first decade of the francoist dictatorship. These differences are analysed using the artistic productions of Josep Renau (1907 Valence – 1982 Berlin East) and of Ignacio Zuloaga (Elibar 1870 – Madrid 1945). Renau was an important artistic figure during the Spanich Republic. In this thesis, we analyse Renau’s different propaganda productions between 1931 and 1939. Zuloaga was an international artist when the nationalist uprising occurred in 1936. He was recognized by the European elites for his portraits of Andalousian and Castillian sceneries. Zuloaga supported the nationalist putsch and the francoist ideology. In 1939, the Caudillo ordered the painting of the portrait that we will be analysing. The theories of François Hartog, Reinhart Koselleck, Paul Ricoeur and Hannah Arendt are used to analyse the historical conceptual confrontation in Spain, portrayed by the artworks that we studied. During the Republic, it was the modern historical regime that was in force. The historical references used are close in time and the history is constructed in the future and attached to the idea of progress. With the nationalists, the historical conception is connected to the Historia magistra where the past is used as an example. In the first francoism, a return to Spain’s glorious past (the Middle Ages, the Golden Century and the Counter Reform) is clearly claimed in order to rescue the country from the ills of modernity. It is with these different historical conceptions in mind that we compare the esthetics specificities of the artworks, the identity and historical references and the mediums used to legitimize the power and the political actions of each front. Keywords : Josep Renau ; Ignacio Zuloaga ; Propaganda Art ; Spain ; Regime of historicity. iv Table des matières Résumé...................................................................................................................................... iii Abstract ..................................................................................................................................... iv Table des matières .................................................................................................................... v Liste des figures....................................................................................................................... vii Index des abréviations.............................................................................................................. x Remerciements........................................................................................................................ xii Introduction............................................................................................................................... 1 Repères bibliographiques........................................................................................................................... 5 Régimes d’historicité .................................................................................................................................... 8 Chapitre 1................................................................................................................................. 11 Contexte et approches historiques ........................................................................................ 11 1.1 Contexte historique........................................................................................................... 11 1.1.1 La Seconde République espagnole (1931-1939).................................................................11 1.1.2 La Guerre civile espagnole (1936-1939) (Le soulèvement des généraux, la Terreur rouge et la Terreur blanche)..................................................................................................18 1.1.3 Instauration du régime franquiste.............................................................................................22 1.2 Les procédés historiographiques et idéologiques.......................................................... 26 1.2.1 Le champ d’expérience et l’horizon d’attente.......................................................................27 1.2.2 Le régime d’historicité et la brèche historique ....................................................................30 1.2.3 La mémoire instrumentalisée et l’idéologie ..........................................................................33 Chapitre 2................................................................................................................................. 37 Les œuvres de Josep Renau et les modèles extérieurs......................................................... 37 2.1 La position de Renau dans le paysage politique espagnol..................................................37 2.2 La production de photomontages sous la Seconde République espagnole .............40 2.3 L’implication de Renau dans le Pavillon espagnol à l’Exposition internationale de Paris en 1937..................................................................................................................................................47 2.4 Les référents historiques chez Renau ......................................................................................51 Chapitre 3................................................................................................................................. 65 Les portraits de Franco et Ignacio Zuloaga........................................................................... 65 3.1 Le paysage politique espagnol sous le premier franquisme ..............................................66 v 3.2 Le portrait du roi...................................................................................................................................72 3.3 Le portrait de Franco...........................................................................................................................77 3.4 L’image de Franco dans l’espace public ......................................................................................84 Conclusion................................................................................................................................ 90 La brèche..........................................................................................................................................................92 L’image de Franco dans l’Espagne actuelle.......................................................................................94 Bibliographie ..........................................................................................................................
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