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Art Et Littérature À L'époque Victorienne. Home Sweet Home Or

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Art Et Littérature À L'époque Victorienne. Home Sweet Home Or HOME, SWEET HOME OR BLEAK HOUSE ? Art et littérature à l'époque Victorienne Dans la même série, les Annales Littéraires de l'Université de Besançon ont publié en 1977, sous le numéro 198 : THE ARTIST'S PROGRESS Art, littérature et société en Grande-Bretagne Sommaire : PELTRAULT Claude, L'Enfer ou l'architecture de l'illusion. HAMARD Marie-Claire, L'enfant dans l'art anglais du XVIe au XVIIe siècle. CARRÉ Jacques, Alexander Pope et l'architecture. FERRER Daniel, A The Rake 's Progress, Hogarth-Stravinsky. LEHMANN Gilly, L'art de la table en Angleterre au XVIIIe siècle. TATU Chantal, Présence, fonction et signification des arts dans Les Mystères d'Udolphe d'Anne Radcliffe. MARTIN Jean-Paul, Comment Constable peint la peinture. ROSSITER Andrew, La critique d'art de William Thackeray : un aperçu sur la Royal Academy aux alentours de 1840. Cet ouvrage de 161 pages, illustré de 11 planches, est distribué par Les Belles Lettres, 95, Boulevard Raspail, Paris VIe, au prix de 120 FF. Les Annales ont aussi publié en 1982, sous le numéro 267 : LIFT NOT THE PAINTED VEIL... Recherches sur la peinture anglaise et américaine. Sommaire : CARRÉ Jacques, Un aristocrate et son image les portraits de Lord Burlington. BRUCKMULLER-GENLOT Danielle, Un intransigeant victorien : William Holman Hunt, ou la voie étroite du préraphaélitisme. LEHMANN Patrick-André, «Hughes vs Hughes» ou le premier illustra- teur de Tom Brown 's Schooldays. HAMARD Marie-Claire, Les premières années du New English Art Club. HAMARD Marie -Claire, Les illustrateurs du Yellow Book. MARTIN Jean-Pierre, Ce que peint Francis Bacon (tentative de description). TRAXEL David, Rockwell Kent. FERRER Daniel, Parrhasios américain, la surface et le fond dans la peinture aux États-Unis. Cet ouvrage de 165 pages, illustré de 15 planches noir et blanc, est distribué par Les Belles Lettres, au prix de 130 FF. Sont parus aux Annales également : Le Marchand de Londres par G. LILLO édition critique, traduction, préface et notes par Jean HAMARD. 1965.158 p. (66 FF). La Caste par Thomas William ROBERTSON traduit par André RAULT. 1974. 143 p. (72 FF). AVANT PROPOS Le groupe de recherche pluridisciplinaire «Art, Littérature et Société dans les pays anglophones» de la Faculté des Lettres et Sciences Humaines de Besançon remercie les Annales Littéraires de l'Université de lui avoir permis la publication de ses travaux antérieurs dans deux recueils, The Artist's Progress (1977) et Lift not the Painted Veil (1982). L'acceptation d'un troisième volume, dans un contexte défavorable aux publications scienti- fiques, est un geste de compréhension envers un groupe de jeunes chercheurs auquel ceux-ci sont extrêmement sensibles. Le groupe ayant organisé en 1981 une modeste «journée victorienne» sur le thème du livre illustré pour la jeunesse, il n 'avait pu joindre à son second volume qu 'une seule des com- munications faites sur ce sujet ; aussi s'est-il doublement réjoui lorsque la Société Française d'Études Victoriennes et Édouardiennes a accepté de tenir son sixième colloque international à Besançon les 29 et 30 janvier 1983 et de lui confier le soin d'en éditer les Actes. Le présent volume qui rassemble les communications du colloque bisontin et deux communications de la journée victorienne de 1981 trouve son unité à la fois dans le choix de la période et dans celui du thème traité, «Arts et Littérature». L'importance des études sur le roman de Dickens, Bleak House, dont les illustrations sont par ailleurs largement évoquées dans la communication du professeur Andrews, conférencier invité par le British Council et la S.F.E.V.E, a conduit la responsable de l'édition à proposer pour le volume, selon la tradition de la série qui veut un titre anglais, une interrogation sur le cadre de vie victorien : Home, Sweet Home or Bleak House ? Combien de foyers véritables dans les textes et dans les tableaux que nous évoquent les divers articles ? L'adolescent de la public school supervisé par un «housemaster» n 'a pas plus grande nostalgie du foyer fami- lial que la jeune femme de The Awakening Conscience peinte par W. Hol- man Hunt et décrite par Ruskin. Le confort douillet de la maison victo- rienne est reconstitué à l'intérieur même de la diligence par les jeunes voya- geuses d'Augustus Egg et elles ne regardent pas défiler par la fenêtre le pay- sage méditerranéen. C'est que l'étranger, lieu d'aventures exaltantes pour le lecteur adolescent des romans de Henty, est vu par les peintres préraphaé- lites et les romanciers victoriens comme un ailleurs qui ne résoud aucun problème. La somptueuse demeure vénitienne de Milly Theale est un cadre aussi étouffant que Chesney Wold où Lady Dedlock cache son angoisse sous le masque de l'ennui. Bleak House comprend plus de demeures prisons que de demeures refuges ; du taudis de Tom All Alone's (l'illustration de la couverture) à la maison patricienne devenue étude de notaire où Tulking- horn est assassiné, il n'est pas, dans le roman, d'abri contre le malheur. On vient jusque chez les Bagnet, famille modèle, arrêter un innocent. «Home, Sweet Home», hymne officieux de la période, semble au mieux l'illusion de l'exilé, au pire une moquerie. Même impression de claustrophobie dans Dubliners. C'est une situation que les filles de Leslie Stephen vivent dans la réalité et dont la mort du père ne les délivrera pas totalement, du moins tant qu'elles n'auront pas trouvé, Vanessa dans la peinture, Virginia nette- ment plus tard dans l'écriture, un mode de création artistique où l'esthétique abstraite, primant sur l'image du réel, permet d'échapper à l'obsession de la mère. M. C. HAMARD REMERCIEMENTS Nous remercions les auteurs de nous avoir confié leurs manuscrits et nous remercions les musées qui nous ont autorisé à reproduire des œuvres d'art de leurs collections : le City Museum and Art Gallery de Birmingham (pl. II ), la Tate Gallery de Londres (pl. V ), la Huntington Library and Botanical Gardens (pl. III ) et le Musée des Beaux-Arts de Besançon (pl. ). NARRATIVE VERSUS TABLEAU : LITERATURE AND PAINTING IN EARLY VICTORIAN ENGLAND par Malcolm Andrews Professeur à l'Université de KENT (G. B.) Much of Victorian art — fiction, melodrama and painting — is founded on the assumption that narrative and tableau are compatible partners. Occa- sionally the wrong partner seems to get the upper hand. Some examples of Victorian fiction strike one more as causally related sequences of tableaux than as novels. Popular melodramas of the period, likewise, can seem more a series of histrionic poses stitched together with some functional dialogue than a subtle revelation of character in action or complication of relationships under pressure. Some Victorian paintings, conversely, present a single tableau and ask the spectator to reconstruct the narrative context by interpretation and association of the wealth of significant detail contained in the picture. So painting aspires to the condition of the novel and the melodrama ; and these two, at crucial points in their narrative, build scenes fit for the painter. I am going to examine some of the tensions in this Victorian partnership of the sister-arts, tensions between the flow of a story-line and the arresting visual realisation of specific moments in that narrative. The issue is raised in an engagingly self-conscious way by George Eliot at an early point in her novel Daniel Deronda (1876). The novel's heroine, Gwendolen Harleth, an intelligent, beautiful but curiously naive girl, distinguishes herself in an archery contest to which the foremost fami- lies in the county have been invited. There is a dinner and dance that evening, the main interest of which, for Gwendolen, is the opportunity to meet the fascinating Mr. Grandcourt. Gwendolen's mother says : «I am sure you ought to be satisfied today. You must have enjoyed the shoo- ting. I saw you did». «Oh, that is over now, and I don't know what will come next,» said Gwendolen, stretching herself with a sort of moan and throwing up her arms. They were bare now : it was the fashion to dance in the archery dress, throwing off the jacket ; and the simplicity of her white cashmere with its border of pale green set off her form to the utmost. A thin line of gold round her neck, and the gold star on her breast, were her only ornaments. Her smooth soft hair piled up into a grand crown made a clear line about her brow. Sir Joshua would have been glad to take her portrait ; and he would have had an easier task than the historian at least in this, that he would not have had to represent the truth of change - only to give stability to one beautiful moment. (Book II, Ch. II) Here is the novelist (or historian) envying what she feels to be the simpler task of the painter who does not need to consider what lies behind the beautiful appearance of his subject, and can simply lift her up free from the stream of time. But for the historian, the «truth of change» cannot be avoided while the subject remains carried along by the narrative current. The reference to Sir Joshua Reynolds provides us with a useful starting point. Let us look at a Reynolds portrait and assess George Eliot's under- standing of the painter's task. This is a portrait entitled Lady Cockburn and her three eldest sons (1773). To what extent is Reynolds's portrait simply the result of stabilising one beautiful moment in his subject's appearance ? It is much more than that. This is an idealised portrait ; and the means of idealising the subject is to represent her in a pose deliberately reminiscent of some high Renais- sance paintings.
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