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La Céramique De Charles Et D'émile Gallé Au Musée De L'école De Nancy. Vol. 1 Texte

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La Céramique De Charles Et D'émile Gallé Au Musée De L'école De Nancy. Vol. 1 Texte Loreleï Carré Master 1 HPEE – Histoire, Patrimoine et Archéologie Université de Lorraine – Nancy La céramique de Charles et d’Émile Gallé au musée de l’École de Nancy. Vol. 1 Texte. Sous la direction de M. Samuel Provost, maître de conférences à l’Université de Lorraine-Nancy 2017-2018 1 [Horloge, inv.BD9 , MEN]. 2 REMERCIMENTS. Je remercie vivement M. Samuel Provost, qui prit de son temps pour me prodiguer ses conseils et parfaire l’orientation de mon travail. Blandine Otter chaleureusement pour son accueil, sa gentillesse et ses réponses éclai- rantes. Mes relecteurs pour leur grande patience, leur soutien et leurs réflexions pour trans- mettre un propos clair et précis. 3 Table des matières Introduction. ....................................................................................................................... 6 i. Rapport de stage. .................................................................................................. 14 A. Retour historique. ................................................................................... 14 B. Structuration actuelle. .............................................................................. 16 C. « Faire connaissance avec un centre documentaire ». ...................................... 17 1. L’équipe de ce pôle. ............................................................................................................... 17 2. Les missions qui m’ont été confiées......................................................................................... 18 Identifier et classifier.......................................................................................................... 18 Réaménagement d’une vitrine d’exposition permanente. ......................................... 22 Sélectionner les documents. ............................................................................................. 25 L’occasion d’assister aux candidatures des photographes pour Nancy-Musée. ................................................................................................................................................... 26 L’élaboration d’un catalogue d’exposition. ................................................................... 28 Observation du déménagement d’œuvres. .................................................................... 29 D. Les bénéfices de ces 11 semaines de stage. .................................................... 30 1. Mon mémoire de recherche. .................................................................................................. 30 2. L’apport professionnel. ......................................................................................................... 31 ii. La céramique en France. ...................................................................................... 33 A. L’essor de l’usage de la céramique. ............................................................. 33 B. La céramique Art nouveau. ....................................................................... 40 iii. La céramique Lorraine. ........................................................................................ 43 A. Les différents types de productions céramiques, du XVIIIème jusqu’à mi- XIXème siècle......................................................................................................... 43 1. La Poterie. ............................................................................................................................ 43 2. La faïence traditionnelle, « vieille faïence d’antan, à terre rouge et émail stannifère ». ................ 43 B. Histoire et techniques des centres principaux de production. ............................ 44 1. Sarreguemines. ..................................................................................................................... 44 2. Longwy. .............................................................................................................................. 48 3. Niderviller. ........................................................................................................................... 49 C. Les collaborateurs lorrains des Gallé. .......................................................... 50 1. Lunéville – Saint-Clément ...................................................................................................... 51 4 2. Raon-L’Étape ........................................................................................................................ 53 3. Des centres secondaires, pour la réalisation des blancs. ........................................................... 54 MEISENTHAL. ...................................................................................................................... 54 CLAIREFONTAINE. .............................................................................................................. 55 FAÏENCERIES PARISIENNES. ................................................................................................. 56 TOUL-BELLEVUE. ................................................................................................................. 57 4. La rareté du grès chez Gallé. .................................................................................................. 57 iv. Le regard porté sur Émile Gallé ...................................................................... 59 A. Un point biographique. ............................................................................ 59 1. A travers son existence. ......................................................................................................... 59 2. Collaborer avec son père, Charles. .......................................................................................... 65 3. Les participations à diverses Expositions. ................................................................................ 68 B. L’évolution de la maison Gallé. .................................................................. 70 1. Le magasin, et l’atelier de la demeure familiale. ....................................................................... 70 2. Les Etablissements Gallé. ........................................................................................................ 72 L’OMNIPRESENCE DU BOTANISTE. .................................................................................. 72 A PARTIR DE SEPTEMBRE 1904. ..................................................................................... 74 v. Mon projet de recherches. ................................................................................... 76 A. Historiographie ...................................................................................... 76 1. Les sources utilisées. ...................................................................................................... 76 2. Compréhension du sujet. ................................................................................................ 80 B. Les œuvres de terre conservées au musée de l’École de Nancy. ........................... 81 Les résultats de ma recherche. .............................................................................................. 81 vi. Conclusion. .............................................................................................................. 88 vii. Bibliograhie. ............................................................................................................ 90 5 Introduction. La céramique d’Émile Gallé est une faïence stannifère. Ses quelques essais en grès font partie des rares exceptions confirmant la règle. Son père, Charles Gallé, est peintre sur porcelaine, puis vendeur et créateur sur Nancy ; l’enfant Gallé le rejoint dans l’entreprise familiale. Progressivement, Émile Gallé crée une faïence qu’il perfectionne de la pâte au décor1. Ce que l’on nomme « céramique » correspond en réalité à une variété de typolo- gies d’objets en terre cuite. Ce panel regroupe différentes compositions d’argiles et de multiples techniques. Les objets façonnés en céramique s’emploient pour des usages et des formes gran- dement diversifiés à partir du XIXème siècle. « A mesure que les produits céramiques se sont per- fectionnés, embellis et enrichis, ils ont demandé, pour obtenir diverses qualités, des secours aux sciences »2. Les emprunts scientifiques sont réalisés à partir de la physique et de la chimie. La poterie est surtout une production dite « rurale », en raison des formes grossières des objets. Elle sert dans le quotidien modeste –par exemple des plats typiques d’une spécialité culinaire comme des terrines, ou bien adaptés au transport et à la conservation des produits pour les travaux agricoles3. La poterie porte des tons bruns et orangés, dans des formes brutes dé- nuées de fioritures superficielles. Elle est majoritairement produite à la campagne, pour des besoins locaux et immédiats. La porcelaine, dont le succès grandit durant le XIXème siècle parmi les pays européens, est produite dans une qualité grandissante en Angleterre et, par la suite en France. Les céra- mistes et les chercheurs s’inspirent des chinoiseries blanches à décor bleu dont la dureté et les couleurs représentent des modèles à imiter. Les manufacturiers considèrent la porcelaine 1 Voir p.1, ainsi que la première partie de cette recherche en guise de présentation du panorama des diffé- rentes sortes de céramiques au XIXème siècle. 2 BRONGNIART Alexandre, Traité des arts céramiques ou des poteries, Dessain et Tolra, Paris, tome 1, 3ème édi- tion, 1977. 3 ERNOULD-GANDOUET
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