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Salvador Dali Et La Photographie : Portraits Du Surréalisme (1927-1942)

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Salvador Dali Et La Photographie : Portraits Du Surréalisme (1927-1942) Salvador Dali et la photographie : portraits du surr´ealisme(1927-1942). Marc Aufraise To cite this version: Marc Aufraise. Salvador Dali et la photographie : portraits du surr´ealisme(1927-1942).. Art et histoire de l'art. Universit´ePanth´eon-Sorbonne - Paris I, 2013. Fran¸cais. <NNT : 2013PA010597>. <tel-01001654> HAL Id: tel-01001654 https://tel.archives-ouvertes.fr/tel-01001654 Submitted on 4 Jun 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. MARC AUFRAISE SALVADOR DALÍ ET LA PHOTOGRAPHIE : PORTRAITS DU SURRÉALISME (1927-1942) Thèse de Doctorat en Histoire de l’Art Sous la direction du Professeur Michel POIVERT École Doctorale 441 Histoire de l’Art Date de soutenance : 30 mars 2013 Membres du JURY : Thierry DUFRENE, Fabrice FLAHUTEZ, Michel POIVERT, Pascal ROUSSEAU UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE Remerciements............................................................................................................................................ 9 Introduction .............................................................................................................................................. 11 I. Le Voyant (1927-1929) .......................................................................................................................... 32 I.A. L’usage stratégique de l’objectivité ................................................................................................ 36 I.A.1. Découvrir la réalité nue........................................................................................................... 37 a) Philosophie et esthétique .......................................................................................................... 38 Héraclite et la nature ................................................................................................................ 38 « on peut y compter les vagues » ............................................................................................. 40 La maîtrise ............................................................................................................................... 43 b) La prose poétique ..................................................................................................................... 45 Poésie de l’objectivité ............................................................................................................. 45 Le recours aux appareils enregistreurs .................................................................................... 49 Les inventions ..................................................................................................................... 50 Les appareils optiques ........................................................................................................ 51 I.A.2. Un peintre au discours radical ................................................................................................ 53 a) L’antiartistique ......................................................................................................................... 55 Les actualités cinématographiques .......................................................................................... 55 La recherche de l’émotion universelle ..................................................................................... 57 b) L’utile standardisé.................................................................................................................... 59 Les objets industriels ............................................................................................................... 59 La publicité .............................................................................................................................. 61 c) Le Manifeste jaune ................................................................................................................... 63 I.A.3. Des choix subjectifs ................................................................................................................ 66 a) L’opposition des contraires : l’étincelle poétique .................................................................... 67 L’image textuelle ..................................................................................................................... 67 L’image photographique ......................................................................................................... 70 b) « Savoir regarder » ................................................................................................................... 72 Une disposition spirituelle ....................................................................................................... 73 Savoir enregistrer .................................................................................................................... 75 2 c) Réalité et surréalité ................................................................................................................... 78 I.B. La canalisation du désir .................................................................................................................. 82 I.B.1. Le rejet du freudisme .............................................................................................................. 83 a) Le rêve ..................................................................................................................................... 83 La condamnation ..................................................................................................................... 83 L’utilisation littéraire de l’alogique du rêve ............................................................................ 84 b) « les troubles processus subconscients » .................................................................................. 86 I.B.2. La photographie formante ....................................................................................................... 89 a) La médiation photographique .................................................................................................. 89 Le rapport à la nature ............................................................................................................... 91 La chaussure féminine ............................................................................................................. 92 b) La définition du moi ................................................................................................................ 93 Un jeune peintre ambigu ......................................................................................................... 95 Du bord de mer à l’atelier ................................................................................................... 96 Devant ses toiles ................................................................................................................. 98 Le travestissement ............................................................................................................ 100 La fonction allégorique ......................................................................................................... 103 La Poésie .......................................................................................................................... 103 La Culture ......................................................................................................................... 105 I.C. La photographie au service de l’émancipation............................................................................. 106 I.C.1. La puissance du subconscient ............................................................................................... 106 I.C.2. La récupération du « documentaire » .................................................................................... 110 I.C.3. La mise en avant de l’intimité ............................................................................................... 115 a) La libération ........................................................................................................................... 115 b) L’autoportrait ......................................................................................................................... 118 I.C.4. L’universalité de l’inconscient .............................................................................................. 120 a) La puissance du détail ............................................................................................................ 120 b) Amour et mort ........................................................................................................................ 121 II. Le Voyeur (1929-1933) ...................................................................................................................... 126 II.A. Les photographies publiées au service du surréalisme ............................................................... 132 II.A.1. Portraits du groupe (1929-1931).........................................................................................
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