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Dottorato Di Ricerca in Storia Delle Arti E Dello DOTTORATO DI RICERCA IN STORIA DELLE ARTI E DELLO SPETTACOLO CICLO XXXII COORDINATORE Prof. ANDREA DE MARCHI INTORNO AD ABSTRACTION-CRÉATION: ASPETTI DELL’ASTRATTISMO TRA ARTE E POLITICA (PARIGI, 1931-1936) Settore Scientifico Disciplinare L-ART/03 Dottorando Tutore Dott.ssa AMICO ILARIA DEIANIRA Prof. PATTI MATTIA Coordinatore Prof. DE MARCHI ANDREA Anni 2016/2019 INDICE Introduzione, p. 5 Capitolo I. Abstraction-Création: un modello per la promozione dell’astrattismo nel sistema dell’arte degli anni Trenta I.1. Da Cercle et Carré e Art Concret alla nascita della “Société internationale des artistes non figuratifs”, poi Abstraction-Création, p. 22 I.2. Il progetto editoriale: dal modello della rivista modernista all’almanacco dell’arte non figurativa, p. 44 I.3. Due principi editoriali: la “non figurazione” e l’“anonimato”, p. 52 I.4. Una pagina della rivista nel 1935: Kandinsky e Picasso, p. 59 I.5. Le edizioni d’arte di Abstraction-Création tra progettualità collettiva e interessi individuali, p. 66 I.6. L’attività espositiva: lo spazio di Avenue Wagram a Parigi tra politiche associative e obiettivi curatoriali, p. 73 I.7. Le dimissioni del 1934. La leadership di Auguste Herbin tra questioni estetiche e politiche, p. 87 I.8. Abstraction-Création è una “gloria nazionale”: la vicepresidenza di Vantongerloo e la richiesta di aiuti di Stato, p. 97 Capitolo II. I dibattiti intorno ad Abstraction-Création: le inchieste degli anni Trenta sull’astrattismo II.1. L’arte astratta, tendenza “straniera” e “decorativa”. Le posizioni della critica e degli artisti di Abstraction-Création tra 1925-1930, p. 101 II.2. L’arte astratta ha soppresso l’emozione. Le dichiarazioni degli artisti astratti nelle polemiche di inizio anni Trenta, p. 115 II.3. L’inchiesta sull’arte astratta del 1931: persistenze e discontinuità attorno Abstraction- Création, p. 118 2 II.4. Herbin, oggetto delle critiche all’astrattismo come arte applicata, p. 126 II.5. L’inchiesta del giornale «Excelsior» del 1932: l’affresco contro la lezione costruttivista, p. 131 Capitolo III. I dibattiti interni al gruppo Abstraction-Création: il numero-inchiesta del 1933 III.1. “Perché non dipingete nudi?”. Una polemica contro i soggetti commerciali, p. 140 III.2. “Cosa nel pensate dell’influenza degli alberi sul vostro lavoro?”. Il rapporto con la natura, p. 145 III.3. “La locomotiva è un’opera d’arte?”. Lo spettro del mito della macchina, p. 149 III.4. La risposta di Albert Gleizes nella prospettiva di un “rétour à l’homme”, p. 155 III.5. L’autonomia della creazione plastica rispetto alle fonti di ispirazione e il questionario di Abstraction-Création sullo sfondo della questione sociale, p. 161 Capitolo IV. Astrattismo e politica: Abstraction-Création sullo sfondo della querelle du réalisme IV.1. Note sul contesto, p. 167 IV.2. Parigi-Mosca nel milieu di Abstraction-Création, p. 173 IV.3. L’Association des Écrivains et Artistes Révolutionnaires contro l’astrattismo, p. 176 IV.4. L’arte astratta ha perso la sua funzione sociale. Le critiche ad Abstraction-Création su «L’Humanité», p. 182 IV.5. Antefatti della querelle du réalisme: l’inchiesta di «Commune» del 1935, p. 194 IV.6. La querelle sulle pagine di «Abstraction Création Art Non Figuratif» nel 1935, p. 204 IV.7. Forma e contenuto: gli “esuli” di Abstraction-Création nell’inchiesta dei «Cahiers d’art» del 1935, p. 219 Capitolo V. Abstraction-Création e le manifestazioni di arte murale nell’anno 1935 V.1. Note sul contesto, p. 229 V.2. Il Salon de l’art mural del 1935, storia di un’esposizione, p. 236 3 V.3. Abstraction-Création e l’arte murale come manifesto dello “spirito di evoluzione” dell’arte, p. 243 V.4. La polemica di Enrico Prampolini, p. 252 V.5. Gli astratti italiani e Abstraction-Création nel Salon parigino, p. 259 V.6. “Il futurismo è l’arte del regime, il futurismo è un’arte astratta”: le critiche a Enrico Prampolini sulla rivista «Commune», p. 268 V.7. Il difficile dialogo con le istituzioni e la decentralizzazione dell’attività di Abstraction- Création nel 1936 p. 273 Capitolo VI. Abstraction-Création e il mercato dell’arte VI.1. Le posizioni critiche verso il sistema capitalistico del mercato in «Abstraction Création Art Non Figuratif», p. 280 VI.2. Léonce Rosenberg e Abstraction-Création, p. 287 VI.3. Le gallerie intorno ad Abstraction-Création, sulla rive gauche, p. 293 VI.4. Sulla marginalizzazione dell’astrazione geometrica negli acquisti di Stato, p. 304 Capitolo VII. La fortuna critica di Abstraction-Création VII.1. La rimozione del “lato oscuro” di Abstraction-Création: la vicenda editoriale di Michel Seuphor, p. 308 VII.2. Sulla fortuna critica di Abstraction-Création, p. 317 APPARATI Bibliografia Immagini 4 Introduzione L’association abstraction-création est absolument indépendante de tout groupement, de toute firme commerciale et de toute combinaison publicitaire (Editorial, «Abstraction Création Art Non Figuratif», n. 1, 1932) “L’associazione Abstraction-Création è assolutamente indipendente da qualsiasi gruppo, società commerciale e sistema pubblicitario”. Con questa affermazione si apriva ogni numero della rivista pubblicata dall’omonima associazione, nata il 15 febbraio 1931 da un’iniziativa di Theo Van Doesburg il quale, poco prima della scomparsa prematura un mese dopo, aveva riunito nel proprio atelier alcune figure di rilievo del contesto artistico parigino dell’epoca tra cui Hans Arp, Robert Delaunay, Auguste Herbin, Albert Gleizes. La vicenda del gruppo Abstraction-Création è riconosciuta dalla critica come punto di riferimento per la diffusione dell’astrattismo negli anni Venti e Trenta del secolo scorso ma la sua storia è stata oggetto fino ad oggi di un’unica trattazione estensiva in ambito francese, il catalogo della mostra Abstraction-Création 1931-1936 a cura di Gladys Fabre ordinata presso il Musée d’Art Moderne de la Ville de Paris nel 1978, mentre in Italia non esiste alcuna monografia sull’argomento, per quanto i riferimenti ad essa siano ricorrenti per descrivere le tendenze europee a cui guardarono gli astratti italiani, grazie agli studi di Paolo Fossati1 e poi di Luciano Caramel2. Il nome del gruppo entrò nella letteratura sulla storia 1 Paolo Fossati, L’immagine sospesa. Pittura e scultura astratte in Italia (1934-1940), Einaudi, Torino, 1971. 2 A Luciano Caramel si devono le riflessioni sul valore culturale del dialogo tra Milano e Parigi sul fronte della frequentazione dei pittori italiani con il gruppo d’oltralpe. Mentre sono stati sottolineati i legami formali tra le tendenze dell’arte astratta rappresentate nella capitale francese e quello italiano, rintracciando l’importanza dei rapporti internazionali di figure legate al futurismo come Alberto Sartoris e Enrico Prampolini per l’aggiornamenti della scena artistica nazionale, non è stato tuttavia approfonditamente inquadrato quale fosse il dibattito interno al gruppo Abstraction-Création. Tra la bibliografia sull’argomento con riferimento alla citazione dell’attività del gruppo si rimanda ai seguenti volumi curati da Luciano Caramel: El arte abstracto italiano de los anos treinta, in Vanguardia italiana de entreguerras, catalogo della mostra, a cura di Luciano Caramel, Enrico Crispolti, Veit Loers, Museum Fredericianum, Kassel, 28 gennaio – 25 marzo 1990; IVAM Centre Julio González, Valencia, 9 aprile – 5 giugno 1990. Milano, Mazzotta 1990, pp. 69-80; L’Europa dei 5 dell’arte astratta nei primi anni del dopoguerra attraverso gli scritti del critico belga Michel Seuphor, il quale definì l’associazione come baluardo delle ricerche geometriche costruttiviste in Europa. questa impostazione poggiava i suoi fondamenti intellettuali nell’attività critica di Seuphor tra le due guerre come fondatore del gruppo Cercle et Carré nel 1930 nella direzione di un marcato anti-surrealismo. Chiunque si sia avvicinato allo studio dell’attività di Abstraction-Création ha dovuto confrontarsi con questa lettura, che ebbe fortuna fino alla prima metà anni Settanta3. A partire dallo studio di Fabre del 1978, che per primo aprì nuovi filoni di riflessione emancipandosi dall’interpretazione testimoniale di Seuphor, dopo anni di silenzio critico sono stati aperti altri fronti interpretativi che hanno incluso analogie e confronti tra l’attività del gruppo astratto e il movimento fondato da André Breton4. Un altro importante contributo pubblicato in anni recenti è giunto da George Roque nell’ambito degli studi sul significato dell’astrazione attraverso la storia della sua terminologia5. Caratteristica comune della letteratura sull’argomento è l’esteso spazio dedicato all’interpretazione delle parole “abstraction” e “création” che costituirono il nome razionalisti, 1989, Electa, Milano; Kandinsky e l’astrattismo in Italia 1930-1950, catalogo della mostra, Palazzo Reale, Milano, 10 marzo – 24 giugno 2007, Mazzotta, Milano, 2007; Gli astratti, in Gli anni Trenta. Arte e cultura in Italia, catalogo della mostra, 27 gennaio-30 aprile 1982, Palazzo Reale di Milano, Mazzotta, Milano, 198; La nascita dell’arte astratta in Arte italiana del XX secolo, pittura e scultura 1900-1988, Royal Academy of Arts, Londra, 1989; Arte astratta in Italia tra le due guerre in Abstracta: Austria, Germania, Italia 1919- 1939. L’altra arte degenerata, Electa, Milano, 1997. Il riferimento all’attività del gruppo Abstraction-Création è spesso citato dando informazioni imprecise sulla sua storia (a titolo d’esempio Mario-Andreas von Luttichau nel saggio L’esigenza di una nuova forma (Piet Mondrian) pubblicato nel catalogo della mostra Abstracta sopracitato, riconduce erroneamente l’attività del gruppo a Michel Seuphor, già fondatore di Cercle et Carré. Ivi, p. 97. 3 Si rimanda a Marie-Aline Prat, Peinture et avant garde au seuil des années 30, La Cité - L'Age d'Homme, Losanna, 1984; George Rickey, Constructivism, Origins and Evolution, Braziller, New York ,1967. 4 Si vedano le posizioni di Anna Mosynka, Abstract Art, Thames & Hudson, Londra, 1990; Jed Rasula, Dangerous Games and New Mythologies: Cercle et Carré (1930; Art Concret (1930); Abstraction-Création (1932-5); and Minotaure (1933-39), in Oxford Critical and Cultural History of Modern Magazines Volume I, Europe 1880-1940, Oxford University Press, 2013, pp.
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