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Sans-Photo-Alexandre.Indd 1 18.04.2016 15:24:13 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1 118.04.20168.04.2016 115:24:135:24:13 Exposition à la Bibliothèque de Genève du 5 juin au 11 septembre 2016 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 2 118.04.20168.04.2016 115:24:265:24:26 Michèle et Michel Auer sans photo graphie Peintres, caricaturistes, dessinateurs des XIXe et XXe siècles dans les collections de la Fondation Auer Ory pour la photographie auerphotofoundation SSans-photo-Alexandre.inddans-photo-Alexandre.indd 3 118.04.20168.04.2016 115:24:265:24:26 ISBN 978-2-8399-1883-1 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 4 118.04.20168.04.2016 115:24:265:24:26 Sommaire Représenter la photographie, pour mieux la comprendre Alexandre Vanautgaerden 7 1 - Les Précurseurs 9 2 - Les inventeurs 26 3 - La daguerréotypie 31 4 - Honoré Daumier 46 5 - Nadar 59 6 - Le photographe 70 7 Les caricatures 81 8 - Les Chansons 144 9 - L’atelier du photographe 149 10 - Les estampes japonaises 168 11 - Les images de guerre 179 12 - Les images d’Epinal 179 13 - Les chromos et cartes postales 186 14 - Les livres d’enfants 194 14 - Les publicités photographiques 199 17 - En relief 199 18 - Index 259 20 - Remerciements 267 5 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 5 118.04.20168.04.2016 115:24:265:24:26 6 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 6 118.04.20168.04.2016 115:24:265:24:26 Représenter la photographie, pour mieux la comprendre Alexandre Vanautgaerden, Directeur de la Bibliothèque de Genève La Fondation Auer Ory à Hermancew est mondialement connue pour ses collections de photographies et d’appareils photographiques. Parallèlement à leur travail de collecte, Michel et Michèle Auer ont toujours désiré partager leur savoir et leurs découvertes, qu’ils consignent dans leur Encyclopédie internationale de la photographie. Afi n de mettre en valeur les collections photographiques à Genève, la Bibliothèque et le Musée d’Art et d’Histoire organisent pendant l’été 2016 une exposition au Musée Rath. Une section importante y sera consacrée à «L’origine de la photographie», mêlant des œuvres issues des collections de la Bibliothèque et de la Fondation. La Bibliothèque de Genève possède le fonds le plus important au monde de daguerréotypes de Jean-Gabriel Eynard (303 sur les 434 œuvres recensées à ce jour). Ce fond est l’un des fl eurons de nos collections. S’il existe, c’est en partie grâce aux deux collectionneurs qui ont «découvert» l’activité photographique de Jean-Gabriel Eynard (1775-1863), jadis plus connu comme fi nancier ou coordinateur des comités philhelléniques en Europe. Désormais, celui-ci fait partie de l’histoire des pionniers de la photographie suisse. Simultanément, la Bibliothèque a voulu présenter un aspect méconnu des collections de la Fondation Auer: les œuvres graphiques et sculptées représentant la photographie et les photographes. Ce fonds est vaste, il contient plus de 3000 pièces dont nous présentons seulement le dixième. Nous avons pris le parti avec la Fondation Auer d’offrir aux chercheur un recueil de planches, qui leur permettra de rédiger cette histoire de la photographie, «sans photographie», qui n’existe pas encore. Michel et Michèle Auer proposent en introduction une série d’images des précurseurs, artistes ou scientifi ques, qui utilisaient différentes machines pour représenter le monde, du XVIIe au début du XIXe siècle. Camera obscura, physionotrace, portrait à la silhouette, ombrascope, diorama, polyrama panoptique: le monde se préparait, sans le savoir, à accueillir les inventions de Nièpce, Daguerre et Fox Talbot. Le chapitre sur les inventeurs présentent encore des va-et- vient entre les images gravées et photographiques. Dès 1839, les artistes s’en sont donnés à cœur joie pour moquer ces daguerréotypeurs et la foule qui se pressait dans leurs ateliers. Honoré Daumier sera l’un des plus mordants adversaires du «positivisme de l’instrument-miroir» (Théophile Gautier, 1862). Les journaux satiriques étaient prêts à accueillir ces dessins à charge; La Caricature (1830) et Le Charivari (1832) naissent peu de temps avant la photographie. Après Daumier, une section est consacrée à Nadar, dont la Fondation conserve de très nombreuses œuvres, tant photographiques que graphiques ou épistolaires. La fi gure de «l’artiste photographe» s’impose, et les caricaturistes ne manquent pas de crayonner une série de portraits grandiloquents où les daguerréotypistes sont enténébrés par leur génie. La Fondation possède nombre d’illustrations extraites de journaux satiriques. Le meilleur y côtoie le pire; Toulouse-Lautrec, les blagues de potaches. Dans la prolongation de ces caricatures, plusieurs partitions sont exposées qui mettent la photographie en musique. A côté de ces mises-en-scène de la photographie et de l’acte photographique, le thème de l’atelier du photographe s’impose dès l’origine. Il reprend le thème ancien de l’atelier du peintre. Tout comme les artistes avaient mis en scène leur pratique au XVe siècle, afi n d’accéder au rang 7 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 7 118.04.20168.04.2016 115:24:265:24:26 d’art libéral (d’abord sous le masque de Saint Luc peignant la Vierge), la photographie accède à cette dignité nouvelle en rejouant la même pièce. Cette transition est illustrée par la couverture du Petit français illustré en 1903, où les deux ateliers rivaux sont fi gurés. Dissimulé sous le voile noir de sa chambre, le photographe opère parfois «sur le motif» dans des assemblées mondaines, parfois dans son atelier. Le cadre large n’omet jamais d’insister sur les toiles de fond et sur les spectateurs qui participent à la construction d’un jeux des regards qui mulitiplient les points de vue et de fuite. Intégré à une scène familière, proche des «Conversation pieces», le photographe au travail devient à la fi n du siècle, un simple motif imbriqué dans la mosaïque de son temps. Une peinture magnifi que de Louis Fontaine clôt cette série. Elle s’éloigne de la mise-en-scène sociale pour représenter le moment magique de la révélation des images, dans l’obscurité rouge du laboratoire. La section suivante montre des images peu connues de représentations de la photographie dans le monde des estampes japonaises. Ces images ont été peu étudiées jusqu’à l’exposition au Musée de Tokyo sur le passage du monde de l’estampe à la photographie en 2015. Les collections de la Fondation conservent de nombreuses œuvres populaires: images d’Epinal, chromolithographies ou livres et revues d’enfants. On en donne quelques images ici. Elle est très riche également en images publicitaires vantant les produits nécessaires à la fabrication de la photographie, les expositions ou les ateliers de photographes. Ces publicités ont tantôt la taille d’une carte postale, tantôt celle d’une affi che. Ce recueil de planches se termine avec une présentation d’œuvres en relief ou contemporaines. La moisson présentée ici est abondante, et ne demande qu’à être enrichie. Nous espérons qu’avec ce fl orilège, nous aurons donné l’envie à quelques chercheurs de se mettre au travail et de compléter l’histoire de la photographie, telle qu’elle s’écrit aujourd’hui. Qu’ils sachent, qu’en bordure du lac Léman, les portes de la Fondation Auer Ory et celles du Centre d’iconographie de la Bibliothèque de Genève leur sont ouvertes. 8 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 8 118.04.20168.04.2016 115:24:265:24:26 1 Les précurseurs SSans-photo-Alexandre.inddans-photo-Alexandre.indd 9 118.04.20168.04.2016 115:24:265:24:26 10 1 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1100 118.04.20168.04.2016 115:24:265:24:26 2 3 4 1-4 - Diderot et d’Alembert, Encyclopédie, art. optique (Jean Le Rond d’Alembert), tome XI, Quatrième livraison des planches, 1767, planches 2, 1, 6, 5. Inv. FAO 492502, 29691, 29692, 49351. 11 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1111 118.04.20168.04.2016 115:24:275:24:27 5 5 - Procédé dans l’art de représenter par des traits, les formes apparentes de personnes et d’objets. La légende précise : «Le dessin est suite un artifi ce qui, par le moyen de lignes savamment combinées, fi gure, sur une surface plane, des courbes, des saillies, des profondeurs comme des élévations. Il doit donc, avant tout, respecter les lois de la perspective.», vers 1700, gravure. Inv. FAO 24695. 12 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1122 118.04.20168.04.2016 115:24:275:24:27 6 7 6 - Athanasius Kircher, Ars Magna Lucis et Umbræ, « Physiologia Kircheriana », Rome, 1646, p. 82 : Chambre obscure, gravure. Inv. FAO 24693. 7 - Athanasius Kircher, Ars Magna Lucis et Umbræ, « Physiologia Kircheriana », Rome, 1646, p. 124 : lanterne magique (Experimentum XX), gravure. Inv. FAO 24694. 13 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1133 118.04.20168.04.2016 115:24:275:24:27 8 9 14 SSans-photo-Alexandre.inddans-photo-Alexandre.indd 1144 118.04.20168.04.2016 115:24:275:24:27 10 8 - Vue perspective d’une maison de plaisance du Pape, Paris, Basset, vers 1775, vue d’optique. Inv. FAO 48754. 9 - Aquæ Lapsus in hortis Versalicis - Les Cascades de Versailles, vers 1775, vue d’optique n° 82. Pas de mention d’éditeur ni d’artiste. Inv. FAO 48758. 10 - Vue du superbe jardin du palais Pite nouvellement fait par l’archiduc de Leaupol d’Autriche à Florence, Paris, Basset, vers 1770, vue d’optique. Inv. FAO 48765. 11 - Zograscope. Instrument d’optique qui permet de donner l’illusion du relief à des vues d’optique. Il apparaît au XVIIe siècle dans les cabinets de curiosités pour permettre de mieux voir de petits dessins, puis au XVIIIe siècle les vues d’optique et leur perspective.
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