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La Nature Morte Au Québec Et La Question Du Sujet En Art (1887-1907)

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La Nature Morte Au Québec Et La Question Du Sujet En Art (1887-1907) ANNIE D’AMOURS LA NATURE MORTE AU QUÉBEC ET LA QUESTION DU SUJET EN ART (1887-1907) 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 de maître ès arts (M.A.) FACULTÉ DES LETTRES UNIVERSITÉ LAVAL QUÉBEC 2005 © Annie d’Amours, 2005 Résumé La présente recherche porte sur le développement de la nature morte et sur la problématique du sujet en art au Québec de 1887 à 1907. En étudiant l’intérêt pour la représentation des e objets en peinture à la fin du XIX siècle, le texte identifie les conditions culturelles et sociales dans lesquelles un nombre important de natures mortes ont été réalisées. Par une analyse des thèmes et des langages formels suivie d’une étude sur la réception de la nature morte québécoise par la critique d’art francophone, sont mises à jour les différentes conceptions sur l’art éclairant en retour le contexte d’émergence de la nature morte. La question du sujet en art se présente alors comme l’élément clé permettant de comprendre l’émergence d’une relation dynamique entre les préoccupations propres au genre et celle du contexte artistique de l’époque. Didier Prioul Annie d’Amours Abstract The present research relates on the development of the still life and the subject in art problematic in Quebec from 1887 to 1907. By studying the interest for the representation of objects in painting at the end of the XIXth century, the text identifies the cultural and social conditions under which a significant number of still life were carried out. An analysis of the topics and of the formal languages, followed by a study on the reception of the Quebec still life by the French-speaking art critics, stress on the various conceptions on art which, in return, gives enlightenments on the context of emergence of the Quebec still life. The question of the subject in art then appears as a key element to understand the emergence of a dynamic relation between the main concerns of the genre and those of the artistic context of the time. Table des matières Résumé................................................................................................................................... ii Abstract................................................................................................................................. iii Table des matières .................................................................................................................iv Table des figures.....................................................................................................................1 Avis au lecteur ....................................................................................................................1 Liste des abréviations......................................................................................................1 Introduction.............................................................................................................................6 Chapitre 1 La représentation des objets en peinture.............................................................16 1.1 Le goût pour peindre les objets...................................................................................18 1.2 L’essor de la nature morte québécoise........................................................................22 e 1.3 Le développement de la nature morte au Québec à la fin du XIX siècle....................32 1.4 La formation des peintres et la production de natures mortes entre 1887 et 1907 .....35 Chapitre 2 Thèmes et langages formels................................................................................47 2.1 Le choix des thèmes et les lieux de représentation.....................................................48 2.2 Un même thème, trois enjeux plastiques ....................................................................52 2.3 Arrangements visuels et imitation des apparences .....................................................60 2.4 La nature morte dramatique et la tradition des trophées.............................................73 2.5 Narrations visuelles.....................................................................................................81 Chapitre 3 La réception de la nature morte québécoise par la critique d’art francophone et la problématique du sujet en art au Québec, 1887-1926 ..........................................................93 e 3.1 La critique et l’idéalisme en art à la fin du XIX siècle ...............................................95 3.2 La nature morte dans la presse écrite, 1887-1907 ....................................................102 3.3 La question du sujet en art chez la critique d’art entre 1915 et 1926 .......................107 e 3.4 L’appréhension du sujet dans la nature morte par la critique à la fin du XIX siècle 113 3.5 Le sujet en art et sa mise en retrait dans la pratique de la nature morte entre 1887 et 1907 : quelques cas d’analyse.........................................................................................122 Conclusion ..........................................................................................................................135 Bibliographie ......................................................................................................................140 1.1 Sources primaires (1862-1918).................................................................................140 1.2 Sources secondaires ..................................................................................................142 Index ...................................................................................................................................151 Table des figures Avis au lecteur Ce mémoire est rédigé avec les outils d’aide à la rédaction et conforme aux exigences de la Faculté des études supérieures pour le dépôt et la diffusion sur support électronique. L’application de règles de rédaction particulières au mémoire électronique explique l’impossibilité d’alléger le texte des légendes sous les images qui sont reproduites dans le texte. Pour minimiser l’espace requis par les légendes, nous avons utilisé le nom des institutions muséales en abrégé. De même, lorsqu’une image provient d’un catalogue d’exposition nous avons abrégé la notice biographique de ce dernier. Les notices bibliographiques complètes des catalogues se trouvent à la bibliographie. Liste des abréviations FAM Frye Art Museum MACM Musée d’art contemporain de Montréal MAJ Musée d’art de Joliette MO Musée d’Orsay MBAC Musée des beaux-arts du Canada MBAM Musée des beaux-arts de Montréal MC Musée de la civilisation MAF Musée de l’Amérique française MNBAQ Musée national des beaux-arts du Québec PI Peabody Institute Figure 1 François Malépart de Beaucourt. Eustache-Ignace Trottier dit Desrivières. 1792- 1793. Huile sur toile. 79 x 63,3 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). .18 Figure 2 François Malépart de Beaucourt. Madame Eustache-Ignace Trottier dit Desrivières, née Marguerite Malhiot. 1793. Huile sur toile. 79,5 x 63,5 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). .........................................................................18 Figure 3 William Berczy. Louis Genevay. 1799-1802. Huile sur cuivre. 29,2 x 23,2 cm. Québec, MAF (Photo : Association des webmestres en histoire de l'art).....................19 Figure 4 Joseph Légaré. Saint François d'Assise en prière. Vers 1825. Huile sur toile. 123 x 92,5 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). ...........................................20 Figure 5 Joseph Légaré. La Vision de saint Jérôme. Vers 1825. Huile sur toile. 155 x 97,2 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). ....................................................20 Figure 6 Antoine Plamondon. Mademoiselle Joséphine Guillet dit Tourangeau. 1854. Huile sur toile. 91,8 x 76 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). .....................21 Figure 7 Antoine Plamondon. Marie-Adèle Cimon. Entre 1843 et 1848. Huile sur toile. 97,7 x 81,5 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). .........................................21 2 Figure 8 William Berczy. Nature morte aux fleurs. Entre 1794 et 1812. Huile sur carton. 28 x 23 cm. Montréal, MBAM (Photo : Montréal, MBAM).............................................23 Figure 9 William Bent Berczy. Nature morte avec géranium. Vers 1860. Huile sur panneau de bois. 33 x 31,8 cm. Collection particulière (Photo extraite de Berczy sous la direction de Mary Macaulay Allody et Rosemarie L. Tovell, avec la collaboration de Mary Macaulay Allody, Peter N. Moogk et Beate Stock, catalogue d’exposition, Ottawa, Musée des beaux-arts du Canada, 1991, p. 272.)............................................24 Figure 10 Joseph Légaré. Souvenir des Jésuites de la Nouvelle-France. 1843. Huile sur toile. 132 x 165 cm. Québec, MC (Photo : Québec, MC). ...........................................25 Figure 11 Antoine Plamondon. Nature morte aux raisins. 1838. Huile sur toile. 91,7 x 75 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). ....................................................27 Figure 12 Joseph Légaré. Nature morte aux raisins. Entre 1945 et 1948. Huile sur toile. 89 x 73,8 cm. Québec, MNBAQ (Photo : Québec, MNBAQ). .........................................27 Figure 13 Cornelius David Krieghoff. Nature morte avec fleurs, fruits et épi de maïs. 1846. Huile sur toile. 97,7 x 78 cm. Montréal, MBAM (Photo : Montréal, MBAM)............28 Figure 14 Cornelius David Krieghoff. Nature morte au gibier. 1860. Huile sur toile.
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