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Les Pochettes De Disques Des Beatles

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Les Pochettes De Disques Des Beatles VISUALISER LA MUSIQUE : les pochettes de disques des Beatles NOUR TOHMÉ • Mémoire de Master 1, Histoire de l’Art, 2013-2014 Université Paris-Sorbonne Sous la direction de Mme Marianne Grivel Sommaire Avant-propos ............................................................................................................................................3 Introduction..............................................................................................................................................5 Chapitre 1: Beatlemania (1962-1964)......................................................................................................7 1. Une brève histoire de la pochette de disque.......................................................................................8 2. Situation socioculturelle de la Grande-Bretagne au début des années soixante............................12 3. Naissance des Beatles et le “culte du costume”..................................................................................13 4. Robert Freeman et le début de l’expérimentation visuelle..............................................................21 Chapitre 2: Transition (1964 - 1966)......................................................................................................27 1. Beatles for Sale, marijuana, et introspection.....................................................................................28 2. Help!...................................................................................................................................................31 3. Rubber Soul : la pochette comme reflet du son................................................................................34 4. La pochette “bouchers”......................................................................................................................40 Chapitre 3: Période psychédélique (1966 - 1967).................................................................................46 1. Contexte social et culturel de l’Angleterre en 1966..........................................................................47 2. LSD et art psychédélique...................................................................................................................50 3. Revolver : collage sonore et visuel......................................................................................................53 4. Sgt. Pepper’s Lonely Hearts Club Band : la pochette comme objet d’art..........................................59 5. Magical Mystery Tour, Yellow Submarine, et voyages psychédéliques..............................................74 Chapitre 4: Période post-psychédélique (1968 - 1970)........................................................................83 1. Contexte socioculturel de la Grande-Bretagne en 1968..................................................................84 2. The Beatles : “l’album blanc”..............................................................................................................85 3. Get Back : retour aux bases................................................................................................................94 4. Abbey Road : la pochette comme “icône”..........................................................................................97 5. Let It Be : retour à la “pochette de la personnalité”.........................................................................106 Conclusion.............................................................................................................................................111 Sources....................................................................................................................................................115 Bibliographie.........................................................................................................................................118 Avant-propos L’idée de travailler sur les pochettes des Beatles m’est venue grâce à mon activité en tant que graphiste et illustratrice. Je suis souvent amenée à concevoir des pochettes d’albums et des affiches pour des clients dans le domaine de la musique, et je collabore régulièrement avec des éditeurs de musique et des maisons de disque. Dans mon travail, j’explore la fusion entre le son et l’image, et je tente d’établir des liens entre la musique et les arts visuels. Les correspondances entre ces deux formes artistiques m’ont toujours particulièrement inté- ressée, et j’ai toujours voulu connaître l’histoire de ces correspondances, leur naissance et leur développement. Une pochette de disque en particulier m’avait toujours intriguée, et je savais qu’elle avait une place très importante dans l’histoire de la pochette de disque de par sa réputation d’être la pochette la plus élaborée et la plus onéreuse de tous les temps à sa sortie en 1967, et aussi parce qu’elle a été réalisée par l’artiste pop Peter Blake : il s’agit de la pochette de l’album Sgt. Pepper’s Lonely Hearts Club Band des Beatles. Après quelques recherches préliminaires, j’ai découvert que plusieurs pochettes des Beatles avaient fasciné non seulement leurs contemporains, mais les artistes et les fans durant les décennies suivantes, et continuent de captiver les fans d’aujourd’hui. Plus de quarante ans après la dissolution des Beatles, un nombre considérable de fans se rendent à la rue d’Abbey Road à Londres tous les jours pour tenter de reproduire l’image de la pochette de l’album Abbey Road, devenue l’une des images les plus imitées et parodiées dans la culture populaire. J’ai aussi découvert que les Beatles collaboraient avec plusieurs artistes des beaux-arts pour la conception de leurs pochettes, et qu’ils étaient eux-mêmes impliqués dans leur réalisation. Cette information m’a particu- lièrement intriguée, car étant intéressée par les liens entre la musique et l’art visuel, le fait que des musiciens s’investissent eux-mêmes dans la création de leurs propres pochettes a saisi mon attention. J’ai aussi remarqué un contraste frappant entre les pochettes des Beatles du début et de la fin de leur carrière. Je me suis alors posée plusieurs questions : Quels sont les liens entre la création musicale des albums des Beatles et la création visuelle de leurs pochettes? Comment ces correspondances entre musique et image se sont-elles développées au cours de leur carrière? Pour quelles raisons les pochettes des Beatles ont-elles eu un tel impact, et comment sont-elles devenues des images qui font partie intégrante de la culture populaire? Comment sont nées ces images, que signifient-elles, et de quelles manières reflètent-elle à la fois la musique des Beatles et les contextes sociaux et culturels de la décennie des années soixante dans laquelle elles ont été créées? Pour quelles raisons certaines pochettes sont-elles créées avec des techniques différentes que d’autres? Si les Beatles sont souvent considérés comme le groupe musical moderne le plus influent, et celui qui a révo- lutionné la musique populaire, les innovations qu’ils ont apparemment apporté à la pochette de disque sont elles reliées à leurs innovations musicales? 3 Il s’agit donc ici d’étudier les pochettes de disques des Beatles tout au long de leur carrière, de 1963 à 1970, et d’analyser ces images en relation avec la création musicale des Beatles ainsi que les contextes sociaux et cultu- rels qui ont fasçonné leur esthétique. Je tiens à remercier toutes les personnes qui m’ont aidée durant mon travail de recherche et qui m’ont facilité l’accès aux sources et aux informations, en particulier les bibliothécaires de la Médiathèque Musicale de Paris, de la Bibliothèque Forney, de l’INHA et du département de l’Audiovisuel de la Bibliothèque Nationale de France. Je remercie également Monsieur le Professeur Olivier Julien, enseignant en histoire et musicologie des musiques populaires à l’Université Paris-Sorbonne, pour ses deux séminaires auxquels j’ai assisté cette année: “Musiques populaires anglo-américaines” et “Analyses des musiques populaires enregistrées”. Ayant soutenu sa thèse de doctorat sur le son des Beatles en 1999, et ayant dirigé l’ouvrage collectif international Sgt. Pepper and the Beatles : It Was Forty Years Ago Today (2008) qui traite de la musique des Beatles, son enseignement m’était tout particulièrement bénéfique et utile pour mes propres recherches. Enfin, j’adresse tous mes remer- ciements à Madame le Professeur Marianne Grivel pour son aide et son encadrement pendant cette année. 4 Introduction L’étude des pochettes de disques des Beatles a pour objectif de mettre en évidence les relations entre la créa- tion musicale du groupe et l’esthétique de leurs pochettes, et d’analyser l’évolution de ces correspondances durant les sept années de leur carrière, entre 1963 et 1970. Cette recherche tente de démontrer que les Beatles ont initié une nouvelle approche au graphisme et aux arts visuels dans le domaine de la musique en donnant une dimension visuelle à leur création musicale, et en devenant les pionniers d’une exploration des liens entre la musique et l’image dans l’industrie de la musique populaire. En étudiant le graphisme des pochettes des Beatles de façon chronologique, la recherche tente de mettre en lumière les contextes et les raisons pour lesquelles des artistes des beaux-arts se sont impliqués dans la pro- duction des pochettes des Beatles, et comment différents mouvements d’art visuel des années soixante se sont manifestés dans ces pochettes. Il s’agit d’étudier la transformation des pochettes de disques des Beatles d’objets
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