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Frauke Josenhans, Vers Le Sud : Le Voyage De Johann Georg Von Dillis

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Frauke Josenhans, Vers Le Sud : Le Voyage De Johann Georg Von Dillis RIHA Journal 0026 | 08 July 2011 Vers le Sud: Le voyage de Johann Georg von Dillis à travers la France, la Suisse et l'Italie en 18 !1 Frau"e Josenhans #eer revie$ and editing organized by: Institut national d'histoire de l'art (INHA), Paris 'evie$ers: Hu ertus !ohle, Julie Ra"os (&stract Southern France, and Provence in particular, started to lure painters as early as in the 18th century, first and foremost French ones, and then increasingly foreign painters, notably the German landscapist Johann Georg von Dillis. In 18!", he undertoo# a $ourney in the South of France in the company of the %avarian cro&n prince, the future 'ud&ig I. Dillis' $ourney is #no&n from t&o different sources: a group of dra&ings #no&n as the Voyage pittoresque dans le Midi de la France dessiné par Dillis *Staatliche Graphische Sammlung, +unich, and his unpublished correspondence &ith his brother Ignaz Dillis. .he dra&ings, &hich &ere ordered by the prince as a visual souvenir of his tour, reflect 'ud&ig(s interest in /oman 0nti1uity and thus include numerous vie&s of ancient monuments, such as the Maison Carrée in 23mes, the arc de triomphe in 4range and the ruins in Saint5/6my5de5Provence. 0part from this group there is another body of dra&ings, &hich Dillis also made during the $ourney, but that he chose not to include in the Voyage pittoresque. .hese sheets attest to the draughtsman(s attentiveness and sensibility for nature more obviously than the commissioned dra&ings. 0n official commission, the Voyage pittoresque is an e7ceptional artistic testimony of travel in the early 18th century. It sho&s that Provence became attractive for artists earlier than &as previously thought. )ontents Introduction $e %oya&e 'ittoresque dans le )idi de la France 'ar Johann +eor& ,on -illis . tra,ers la France, la /uisse et l'Italie 0n souci arch1olo&i(ue, un re&ard hu"aniste $'ordinaire ,ersus le su li"e Introduction 91: 'e Sud de la France en tant 1ue destination artisti1ue 6vo1ue les paysages ensoleill6s de Paul ;6-anne ou des impressionnistes. 'a r6gion autour de la +6diterran6e et particuli<rement la Provence ne semble en effet prendre son plein essor dans l(art 1u(= partir de la seconde moiti6 du > >e si<cle, avec l(6closion de l(6cole de +arseille? et surtout apr<s le retour d6finitif de ;6-anne dans sa r6gion natale. ;elui5ci est alors suivi de nombreu7 peintres, de @incent van Gogh et 0uguste /enoir à 0ndr6 Derain et Georges 1 Je voudrais adresser mes remerciements à 4livier %onfait, à la fois pour sa relecture criti1ue et ses remar1ues constructives. Le voyage de Johann Georg von Dillis dans le Sud de la France est 6tudi6 dans le cadre de ma thèse de doctorat A 0vant le Sud, la Provence vue par les peintres allemands *1B"!518"!, », sous sa direction à l(universit6 de Provence, 0i75+arseille . De mDme, je tiens à remercier ;atherine %rand, Sarah %oyer et Edouard Fopp pour leurs conseils pr6cieux lors de la r6daction de cet article. ? +arie5Paule @ial, A Die Schule von +arseille », in ) Im Licht des Südens. Marseille zu ast, cat. e7p., Gambourg, Gamburger Funsthalle, %rDme, Gachmannedition, ?!!", p. 1151". License: 3his text is provided under the ter"s of the Creative Co"mons License CC-BY7NC-ND 3.0; RIHA Journal 0026 | 08 July 2011 %ra1ue, tous séduits par la beaut6 des paysages et la lumi<re 6blouissanteH. 'eurs tableau7 pleins de couleurs et illumin6s par le soleil m6diterran6en ont mar1u6 l(image de la Provence dans la m6moire collective, et ce $usqu(= nos $ours. 9?: I avait5t5il un Sud avant le Sud J 0uparavant d6$à, de nombreu7 artistes avaient peint les paysages, les monuments anti1ues, les vues de la côte m6diterran6enne et les habitants du Sud de la France. 'es peintres originaires des r6gions m6ridionales françaises, comme ;laude5Joseph @ernet, Pierre5Genri de @alenciennes, Jean50ntoine ;onstantin, Jean5Joseph5>avier %idauld ou François-+arius GranetM, en particulier, ont commencé par dessiner et peindre les paysages de leur $eunesse avant de parfaire leur talent à Paris ou de se rendre en Italie. ;ette fascination grandissante pour le paysage provençal peut Dtre 6galement observ6e che- les artistes 6trangers, en particulier les 0llemands. Si leur voyage en Italie a 6t6 abondamment 6tudi6 dans les ouvrages scientifi1ues et les e7positions de ces derni<res d6cenniesN, la recherche a longtemps n6glig6 leur pr6sence dans le Sud de la France. Sous le ;onsulat et l(Empire, 6po1ue oO Paris s'affirme comme un centre artisti1ue, culturel et commercial 1ui rivalise avec /ome, les 0llemands sont pourtant nombreu7 à venir en France pour compl6ter leur formation dans la capitale, travaillant dans les ateliers d(artistes ou e76cutant des copies de chefs- d(Puvre r6unis au musée 2apol6on". ;ertains parmi eu7 d6couvrent alors, au mDme moment, le Sud de la France. 9H: Entreprendre un voyage vers l(Italie n(a rien d(inhabituel à cette 6po1ue, bien au contraire ) surtout prati1u6 par les 0nglais, 1ui traversent la France afin de se rendre dans la p6ninsule italienne, le Grand .our connaît son apog6e au >@ e si<cle. Diff6rents tra$ets furent emprunt6s à l(6po1ue par les voyageursB. Ils passaient par la France, puis empruntaient soit la voie maritime, soit la voie terrestre. 'es voyageurs pouvaient H Méditerranée de Cour!et à Matisse, cat. e7p., Paris, Galeries nationales du Grand Palais, Paris, Éditions de la /6union des mus6es nationaux, ?!!!, p. HM5M!. M @incent Pomar<de, A Le (Grand .our( en Provence. Peindre en Provence au temps des néoclassi1ues », in ) Sous le soleil# e$actement. Le paysage en %ro&ence# du classicisme à la modernité '()*+,(-.+/, cat. e7p., +arseille, +us6e des %eaux50rts, +ontr6al, +us6e des beaux5 arts, Gand, Snoec#, ?!!N, p. ?51N, en particulier p. 1!. N In the Light o0 Italy 1 Corot and Early 3pen-4ir %ainting, Philip ;onisbee et al. *dir.,, cat. e7p., 2ational Gallery of 0rt, Rashington, .he %roo#lyn +useum, .he Saint Louis 0rt +useum, 188"5 188B, Rashington, 2ational Gallery of 0rt, 188" S %aysages d5Italie 1 les peintres du plein air '()6+,(67+/, cat. e7p., Paris, Galeries nationales du Grand Palais, +antoue, Palaz-o .e, ?!!1, Paris, Éditions de la /6union des mus6es nationaux, ?!!1 S 8ennst du das Land 1 Italienbilder der oethezeit, Frank %üttner et Gerbert R. /ott *dir.,, cat. e7p., +unich, 2eue Pinakothe#, ?!!N, ;ologne, Pinakothe#5Dumont, ?!!N S Viaggio in Italia 1 8ünstler au0 9eisen ())+,(66+. :er;e aus der Sammlung der Staatlichen 8unsthalle 8arlsruhe, cat. e7p., Farlsruhe, Staatliche Funsthalle Farlsruhe, +unich, Deutscher Funstverlag, ?!1!. " Rolfgang %ec#er, %aris und die deutsche Malerei 1 ()*+,(6<+# +unich, Prestel5@erlag, 18B1 S %6nédicte Savoy, A Peintres berlinois = Paris ) 18!!518?! », in ) +arie5;laude ;haudonneret *dir.,, Les 4rtistes étrangers à %aris 1 de la 0in du Moyen =ge aux années (-.+, collo1ue organis6 par le ;entre 0ndr6 ;hastel, ?!!N, %erne, Peter Lang, ?!!B, p. 1NB51BN, en particulier p. 1N851"!. La formation des peintres allemands à Paris entre 1B8H et 18B! est actuellement 6tudi6e par le pro$et de recherche franco5allemand A 0rt.ransForm. Formations artisti1ues transnationales entre la France et l(0llemagne, 1B8H518B! » *0gence nationale de la recherche U Deutsche Forschungsgemeinschaft,, sous la direction de France 2erlich et %6nédicte Savoy. License: 3his text is provided under the ter"s of the Creative Co"mons License CC-BY7NC-ND 3.0; RIHA Journal 0026 | 08 July 2011 embar1uer à +arseille ou = 0ntibes et transiter par GDnes ou 'ivourne pour continuer ensuite la route par la terre. '(autre itin6raire, 1ui faisait traverser les 0lpes, 6tait choisi par de nombreu7 touristes, puisqu(il permettait d(6viter le voyage en bateau, tou$ours risqu6 à cause des tempDtes8, et de visiter les foyers artisti1ues de l(Italie du 2ord. +ais dans la seconde moiti6 du >@ e si<cle, les donn6es changent et de plus en plus d(6trangers ne se contentent plus de simplement parcourir l(Ge7agone ) ils vont partir à la d6couverte de la France. Ici encore, les touristes anglais s'affirment comme pr6curseurs8. '(itin6raire de ces voyageurs 6tait mar1u6 par de nombreuses haltes dans les villes de Provence pour voir les sites pittoresques et les monuments anti1ues1!. Pour s'y rendre, nombre d(entre eu7 choisissaient alors la voie fluviale, en empruntant le /hKne à partir de 'yon $usqu(en Provence ou en 'anguedoc11. '(artiste am6ricain .homas ;ole, d(origine anglaise, fut parmi ceu7 1ui opt<rent pour cet itin6raire de voyage lors de son sé$our en Provence en 18M1, embar1uant à 'yon pour se rendre à 0vignon1?. 9M: 'e peintre allemand Johann Georg von Dillis *1BN8518M1, est l(un de ces artistes 6trangers 1ui partent à la d6couverte du Sud de la France. .andis 1ue des artistes britanni1ues commençaient à d6peindre la Provence d<s la seconde moiti6 du > >e si<cle, les 0llemands n(avaient pas encore d6couvert la r6gion, hormis Jakob Philipp Gackert *1BHB518!B, 1ui traversa la Provence en 1B"8 alors 1u(il se rendait en Italie. V la diff6rence de Gackert, le voyage de Dillis a pour destination le Sud de la France mDme. Grand voyageur, les multiples d6placements de Dillis, d<s le d6but de sa carri<re artisti1ue, 6taient favorisés par ses contacts 6troits avec la soci6t6 munichoise. En effet, il donnait depuis 1B8" des cours de dessins au7 fils et filles de l(aristocratie locale, ce 1ui lui offrait l(opportunit6 de les accompagner lors de voyages en 0llemagne ou en Suisse. 0insi, r6guli<rement, notamment au d6but de sa carri<re, Dillis suivait des amateurs d(art, rencontr6s le plus souvent par l(interm6diaire de son bienfaiteur 'ord /umford1H W 1ui le soutenait depuis ses d6buts en tant 1ue maître de dessin W et r6alisait pour eu7 des dessins des sites touristi1ues visit6s1M.
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