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Et Leurs Représentations Dans Les Paysages Nord-Américains

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Et Leurs Représentations Dans Les Paysages Nord-Américains ISOLDA GAVIDIA Les théories ruskiniennès de l'authenticité et leurs représentations dans les paysages nord-américains Mémoire présenté à la Faculté des études supérieures de l'Université Laval dans le cadre du programme de maîtrise en histoire de l'art pour l'obtention du grade maître ès art (M. A.) DEPARTEMENT D'HISTOIRE FACULTE DES LETTRES UNIVERSITE LAVAL QUEBEC 2009 © Isolda Gavidia, 2009 11 Résumé Le présent mémoire cherche à analyser les correspondances qui s'établissent entre les théories esthétiques et morales de John Ruskin (1819-1900) et les œuvres des paysagistes nord-américains. Plus particulièrement, nous nous attardons sur le cas particulier d'Allan Aaron Edson (1846-1888), un artiste canadien, dont la première période de sa carrière, située entre 1864 et 1880, rencontre les conceptions ruskiniennes. Par l'analyse des ouvrages de John Ruskin, la série des Modern Painters et Elements of Drawing, nous dégageons la notion d'authenticité, conception fondamentale de l'auteur sur l'art et la nature. Pour mieux cerner la complexité de cette médiation artistique, nous étudions les relations entre les théories' ruskiniennes et sa réception par l'Amérique du Nord. En traitant des questions identitaires, il nous est alors possible d'analyser le vocabulaire idéologique, stylistique et technique employé par les paysagistes américains. Nous analysons ensuite les implications de ces théories dans la pratique d'Edson. 111 Avant-propos Je tiens à exprimer ma profonde gratitude à mon directeur de recherche, M. Didier Prioul. Je le remercie pour sa patience et ses conseils judicieux qui me furent d'une aide précieuse. Sa rigueur et son érudition ont grandement stimulé ma passion et mon intérêt pour l'histoire de l'art canadien. Je désire également remercier mes parents pour leurs encouragements répétés au moment même où ils se faisaient nécessaires. Enfin, merci à Maxime, pour sa confiance et son soutien tout au long de ce projet. IV RÉSUMÉ .....................................................................................................................ii AVANT-PROPOS ...................... ................................................................................. iii TABLE DES MATIÈRES-............................................................................................ iv TABLE DES FIGURES ........... ~ ................................................................................... vi INTRODUCTION ........................................................................................................ 1 CHAPITRE 1 John Ruskin et l'authenticité de la nature ........................................ 8 1.1 Les assises historiques et culturelles au Royaume-Uni à l'époque victorienne 8 1.1.1 L'arrière plan de la société britannique ..................................................... 8 1.1.2 Les avancées scientifiques et le doute religieux ..................................... 10 1 .1.3 L'avènement de la photographie ............................................................. 13 1.1.4 Le contexte artistique en Grande-Bretagne ............................................ 15 1.1.5 John Ruskin, le critique ........................................................................... 18 1.2 L'authenticité en peinture .............................................................................. 20 1.2.1 La vérité .................................................................................................. 21 1.2.2 La beauté ................................................................................................ 23 1.2.3 L'œil innocent et le développement de la vision ..................................... 24 1.3 L'expérience .................................................................................................. 26 1.3.1 Ruskin et les écoles de peinture ............................................................. 26 1.3.2 La photographie et la gravure ................................................................. 28 1.3.3 Les éléments du dessin: les leçons formelles ........................................ 29 1.3.4 Les formes organiques et les formes mathématiques ............................ 32 Conclusion ......................................................................................................... 33 CHAPITRE 2 Les théories ruskiniennes aux États-Unis et au Canada .............. 35 2.1 Les deux nations ........................................................................................... 35 2.1.1 Le contexte historique en Amérique du Nord .......................................... 35 2.1.2 Le progrès des transports ....................................................................... 39 2.1.3 Les excursion géologiques: la découverte physique de l'Ouest. ............ 40 2.2 Nations et identités ........................................................................................ 43 2.2.1 L'esthétique du paysage et les modèles européens ............................... 43 2.2.2 Les centres culturels ............................................................................... 46 2.2.3 La spécificité des paysages nord-américains et identités ....................... 48 2.2.4 Le paysage comme source d'inspiration morale ..................................... 53 2.3 L'Amérique découvre John Ruskin ................................................................ 54 2.3.1 L'introduction des idées de John Ruskin en Amérique du Nord .............. 54 2.3.2 Les expositions ....................................................................................... 57 Conclusion ......................................................................................................... 58 CHAPITRE 3 L'authenticité dans la pratique du paysage en Amérique du Nord .................................................................................................................................. 59 3.1 Les paysagistes nord-américains .................................................................. 59 3.1.1 Asher Brown Durand (1796-1886) .......................................................... 61 3.1.2 Frederic Edwin Church (1826-1900) ....................................................... 61 3.1.3 Thomas Moran (1837-1926) ................................................................... 62 3.1.4 Robert S. Duncanson (1817-1872) ......................................................... 63 v 3.1.5 Allan Aaron Edson (1846-1888) .............................................................. 66 3.2 Les éléments du dessin ..........................................................\ ....................... 69 3.2.1 Les thèmes et procédés de représentation ............................................. 69 3.2.2 Moyens et enjeux plastique .................................................................... 73 3.3 Les sermons de la nature ................ .............................................................. 76 3.3.1 Les ciels: observation et imagination ..................................................... 76 3.3.2 Études topographiques et géologiques ................................................... 79 3.3.3 L'eau: reflets et mouvements ................................................................. 81 3.3.4 La végétation .......................................................................................... 82 3.4 Lumière et atmosphères ................................................................................ 83 3.4.1 La lumière ruskinienne et la clarté scientifique ................................... .... 84 3.4.2 Le paysage américain et la lumière ........................................................ 85 Conclusion ......................................................................................................... 86 CONCLUSION .......................................................................................................... 87 BIBLIOGRAPHIE ..................................................................................................... 91 FIGURES ............................................................................................................. ... 100 VI Table 'des figures: Liste des abréviations : SAAM Smithsonian American Art Museum MBAC Musée des beaux-arts du Canada MNBAQ Musée national des beaux-arts du Québec MBAM Musée des beaux-arts de Montréal MMC Musée McCord AGO Art Gallery of Ontario Fig. 1 : John Everett Millais. Ophélie. 1851-52. Huile sur toile. 76.2 x 111.8 cm. Londres, Tate Britain (Photo extraite de : Allen Staley et Christopher Newall, Pre- Rapahelite Vision. Truth to Nature, Catalogue d'exposition (Londres, Tate Britain, 12 février-3 mai 2004/ Berlin, Altes Nationalgalerie, 12 juin-19 septembre 2004/ Madrid, Fundacio « la Caxia », 6 octobre 2004-9 janvier 2005), Londres, Tate Publishing, 2004, p. 33). Fig. 2 : John Everett Millais. John Ruskin. 1853-54. Huile sur toile. 78.7 x 68 cm. Londres, Tate Britain (Photo extraite de : Allen Staley et Christopher Newall, Pre- Rapahelite Vision. Truth to Nature, Catalogue d'exposition (Londres, Tate Britain, 12 février-3 mai 2004 / Berlin, Altes Nationalgalerie, 12 juin-19 septembre 2004/ Madrid, Fundacion « la Caxia », 6 octobre 2004-9 janvier 2005), Londres, Tate Publishing, 2004., p. 145). Fig. 3 : John Everett Millais. Mid-Spring. 1856. Huile sur plâtre sur panneau. 52.1 x 34.3 cm. Londres, Royal Academy (Photo extraite de : Christopher Newall, « Understanding Landscape», Pre-Rapahelite Vision. Truth to Nature, Catalogue d'exposition (Londres, Tate Britain, 12 février-3
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