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L'institution Du Photographique L’institution du photographique André Gunthert To cite this version: André Gunthert. L’institution du photographique : Le roman de la Société héliographique. Etudes photographiques, Société française de photographie, 2002, pp.37-63. halshs-00004602 HAL Id: halshs-00004602 https://halshs.archives-ouvertes.fr/halshs-00004602 Submitted on 11 Sep 2005 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ISSN 1270-9050 tudes André GUNTHERT photographiques é L’institution du photographique Le roman de la Société héliographique Novembre 2002 12 n cherchera en vain dans les his- représentativité globale de l’activité Otoires de la photographie un cha- photographique de l’époque, quand pitre consacré à l’un de ses principaux celle-ci est au contraire une faction mili- tournants : l’institution du photogra- tante, dont la stratégie et l’action s’écar- phique, soit l’œuvre de la Société hélio- tent sensiblement des options alors graphique1. Quoique la fondation de majoritaires. C’est bien parmi les résul- cette association en 1851 fasse l’objet tats de ses travaux qu’il faut compter la de nombreuses mentions, elle est habi- naissance d’un champ proprement dit, tuellement évoquée en quelques lignes, c’est-à-dire d’un espace de tensions sans guère d’explications. Ce traitement structuré et orienté, auquel rien n’appa- L’“âge d’or” revisité expéditif suggère au lecteur qu’il se rentait jusqu’alors le paysage de la Alentours de Bayard trouve face à un phénomène des plus photographie. banal, où il ne faut apercevoir qu’un Si l’on considère que la majeure par- Reproduire, diffuser contrecoup logique de la formation du tie des textes documentant cet événe- Critique de la crédulité champ photographique. Cette ment appartient au corpus le plus solli- approche implique une bonne dose de cité par les spécialistes de la période, paresse intellectuelle et plusieurs son invisibilité ne laisse pas de sur- erreurs de perspective. La première est prendre. Au-delà du peu d’intérêt des celle qui consiste à penser une forme commentateurs pour l’histoire institu- institutionnelle comme le produit de tionnelle du médium, un facteur “forces” socio-historiques aveugles, explique cette myopie : la seule archive alors que la mise en commun de res- connue de la Société est son organe, La sources individuelles en vue de la réali- Lumière. Premier et pendant quelques sation d’un programme, la création années seul périodique européen exclu- d’une dynamique visant à la réforme du sivement consacré à la photographie, domaine participent de l’événementia- qui livre à un rythme hebdomadaire une lité la plus chaude. La deuxième est celle avalanche d’informations, mais surtout qui tendrait à conférer à la Société une de débats et de controverses sans com- 37 SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE Études photographiques, 12 L’institution du photographique mune mesure avec la morne matière des concurrents, et en favorise une récep- Fig. 1. manuels de la décennie précédente, ce tion par les contemporains comme une W. H. F. Talbot, journal constitue la principale source entité singulière, à vrai dire plus qu’ho- “St-George des historiens pour la compréhension mogène : doctrinale. Dans le premier Chapel, du moment charnière formé par le numéro du Bulletin de la Société française de Windsor Castle”, début des années 18502. L’absence de photographie, publié en avril 1855, un calotype, 16,8 x 20,3 cm, contrepoint comme la richesse des long préambule justifie le choix de la 1843 (album prises de position du périodique dissi- nouvelle association de créer une publi- Regnault, n° 86), mulent leur caractère partisan, minori- cation indépendante : « Le Bulletin sera coll. SFP. taire ou spécieux. Renverser l’angle naturellement en dehors de tout esprit d’analyse, considérer La Lumière, non de parti, de toute répulsion passionnée comme la scène neutre de la manifesta- et, ce qui n’est pas le moins désirable, de tion des discussions qui agitent le sérail, toute admiration exclusive. […] Le mais comme l’outil militant de la pro- cadre de notre publication ne donnera duction d’un discours élaboré, est la pre- jamais à la disette de documents photo- mière condition pour rétablir dans sa graphiques l’occasion ou le prétexte pleine dimension un épisode qui four- d’ouvrir ses colonnes à des matières nit les clés de la compréhension de la étrangères4. » Comme en témoigne la pratique photographique durant toute réponse cinglante que s’attire la Société la seconde moitié du XIXe siècle, offre un de la part de La Lumière5, ces lignes appa- manuels, plusieurs mentions font écho On aurait tort de penser que la per- modèle constitutif à son historiogra- remment bénignes ont un contenu à l’irritation exprimée par le rédacteur tinence de cette remarque s’amoindrit phie à partir du début du XXe siècle, et implicite parfaitement lisible, puis- en chef du Propagateur, journal concur- du fait qu’elle émane d’un fabricant de fonde le mythe d’une “ère du calotype qu’elles ne font que reprendre en creux rent créé en 1853, devant la prétention matériels de daguerréotypie. La réac- français”. les reproches adressés de longue date à affichée par « Dame Lumière ». Mais tion de Gaudin témoigne en réalité de l’hebdomadaire. Loin du « leadership c’est dans ses propres colonnes que l’efficace du système mis en place par la Le papier, creuset d’opinion à peine contesté6 » dont le figure la critique la plus sévère des parti Société héliographique, qui repose sur de la sociabilité photographique créditent ses lecteurs modernes, un exa- pris du journal. Le 29 octobre 1851, un la création d’un antagonisme polaire Dans sa préface à la réédition de La men attentif des sources montre que le avis annonce brusquement la cessation entre les pratiques de la photographie Lumière, Gilbert Beaugé souligne que le périodique a suscité des réactions de sa parution. À peine deux semaines sur papier et du daguerréotype. Ce périodique est loin de former un tout contrastées. « Certains, à leur appari- plus tard, le 17 novembre, l’hebdoma- piège rhétorique s’est refermé depuis si homogène3. Ce qui est vrai de toute tion, se sont fait précéder de trompettes daire renaît, racheté par Alexis Gaudin. longtemps sur l’historiographie qu’il publication collective ne doit pas mas- sonnant à plein poumons, se sont posés Selon l’éditorial rédigé par son nouveau paraît difficile aujourd’hui de recon- quer la profonde convergence des textes comme centre d’action de la Photogra- directeur : « La trop grande place faite naître le caractère construit de cette dis- qui alimentent les colonnes de l’hebdo- phie, comme devant donner la plus à la photographie sur papier, au détri- tinction, inextricablement mêlée aux madaire. Cette cohérence globale, qui vigoureuse impulsion aux découvertes ment des procédés relatifs au daguer- effets de la diversification technolo- marque tout particulièrement la pre- et aux perfectionnements qui doivent réotype, avait créé beaucoup de gique. Pour en mesurer le poids sym- mière série (9 février-29 octobre 1851), compléter cette science nouvelle, mécontents. Cela devait être ; car […] bolique, il faut revenir rapidement sur garde sa pertinence jusqu’à la fin des comme archivistes des Beaux-Arts, etc. parmi les opérateurs, dix-neuf sur vingt la généalogie qui a déterminé ce choix. années Lacan (1851-1860). Au-delà du […] Hélas ! Comme au pauvre Esope, se livrent presque exclusivement au tra- Les histoires du médium attribuent fond des articles ou des contradictions que nous ont-ils donc laissé ? Avant eux vail sur plaque métallique, et ne porte- classiquement à Talbot la paternité de de détail, c’est avant tout un certain ton le domaine de la photographie n’était- raient que peu d’intérêt à une publica- l’invention de la photographie sur qui identifie la publication, la distingue il peuplé que de Quinze-Vingts tion qui ne leur serait presque jamais papier (calotype), troisième avancée sans hésitation des périodiques [d’aveugles]7 ? » Dispersées dans les profitable8.» majeure après la mise au point du pro- 38 39 Études photographiques, 12 L’institution du photographique cédé au bitume de Niépce (héliogra- efforts de Talbot, cette destinée phie) et celle du procédé sur plaque contrariée demeure le lot du calotype, argentée de Daguerre (daguerréotype). dont le développement est bridé par le Ce tableau ne concorde guère avec le poids des brevets, l’inconstance du rôle joué par le papier durant la période procédé, les défauts d’aspect des des origines : depuis Wedgwood, son épreuves et surtout la concurrence du usage forme le point de départ de tous daguerréotype, dont l’aboutissement les essais d’enregistrement visuel. La technologique a fait dès 1839 un véri- simplicité du principe qui consiste à le table produit commercial. Aucune de mouiller d’un sel d’argent comme le ces données n’est fondamentalement confort de manipulation qu’il apporte modifiée au cours de la décennie 1840- expliquent aisément cette forme de 1850. Malgré la publication en 1847 réflexe expérimental. Niépce, Da- des travaux de Blanquart-Évrard (fig. 2) guerre, puis Talbot, obtiennent ainsi des et de Guillot-Saguez (fig. 3)12, qui pro- images qu’on n’appelle pas encore néga- posent une version mieux maîtrisée du tives : cette inversion des valeurs, qu’au- procédé, son principal handicap reste cun n’arrive à modifier, est pour chacun son support : le papier.
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