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Claire Maingon, Claude Monet, Mentor Ou Repoussoir De La

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Claire Maingon, Claude Monet, Mentor Ou Repoussoir De La RIHA Journal 0047 | 14 July 2012 | Special Issue "New Directions in New-I pressionism" This article is part of the Special Issue "New Directions in Neo-Impressionism." The issue is guest- edited by Tania Woloshyn and Anne Dymond in cooperation with egina Wenninger and Anne-!aure "risac-#hra$bi from I%A &ournal. '(ternal peer reviewers for this Special Issue were %ollis #layson* Andr+ Dombrowski* #hantal -eorgel* #atherine .eneu(* obyn osla,* and .ichael Zimmermann. * * * Claude Monet, mentor ou repoussoir de la génération néo- impressionniste? Claire Maingon Abtract Was Monet the father of neo-impressionism? This article investigates the various answers that have been offered to this important and controversial question by examining the relationships – actual and purported ones – between Claude Monet and the neo- impressionists, notably !eorges "eurat and #aul "ignac. It discusses the significance that impressionism with its striving for spontaneity and its sub&ective approach to landscape had for the young painters. ' close reading of "ignac's letters to Monet suggests an amicable relationship between these two artists. Moreover significant artistic parallels can be observed between Monet(s painting and that of "eurat and "ignac especially with regard to the element of seriality$ )inally the article highlights the reception of Monet(s paintings by the neo-impressionists, notably of his *ouen Cathedral series in +,-.$ Sommaire Intro!uction Dans la o!ernit" !e #onet $n nou%el i pressionnisme &a série' la %ision( un en)eu !i**"rentiel &i+ert" et ,o a-e( l'a iti" entre Si-nac et #onet Introduction /+0 1"ans Monet y aurait-il un impressionnisme?+1 se demandait 'ndr2 3hote dans son anthologie des 2crits de peintres publi2e en +-45$ 3a question parait contenir la r2ponse$ Claude Monet 6+,47-+-859 fut incontestablement le h2raut de l(impressionnisme 1h2ro:que1 comme l(2crira )2lix )2n2on$ Mais quelle est sa place dans la construction et l(histoire du n2o-impressionnisme? Dans son ouvrage D'Eugène Delacroix au néo-impressionnisme8 #aul "ignac 6+,5<-+-<.9 qui fut l(acolyte de !eorges "eurat 6+,.--+,-+9 entre +,,4 et +,-+ puis le meneur du second divisionnisme accorde à Monet une place naturelle dans la lign2e des coloristes issus de Delacroix$ >ntre +,,4 et +-85 les deux peintres entretinrent une certaine proximit2 dont les publications sur "ignac font 2tat de façon ponctuelle<$ #lus g2n2ralement il existe une opposition de principe entre l(impressionnisme intuitif et spontan2 de Monet et l(impressionnisme m2thodique et symbolique de "eurat et des premiers n2o- + 'ndr2 Lhote De la palette à l'écritoire #aris +-45 844$ 8 #aul "ignac D'Eugène Delacroix au néo-impressionnisme #aris +-++ collection 1#etite @ibliothèque d(art moderne1$ < 3es bibliographies concernant les Buvres de Monet et de "ignac sont volumineuses$ #ar souci de concision, nous renvoyons au catalogue raisonné de l(Buvre peint de Monet publi2 par ;aniel Wildenstein à la @ibliothèque des arts 6Lausanne . tomes parus de +-C4 à +--+9D et au catalogue de l(Buvre peint de "ignac publi2 par )rançoise Cachin aux 2ditions !allimard en 8777 6avec la collaboration de Marina )erretti-@ocquillon)$ License: /he text o* this article is provided under the terms o* the Creative Commons License CC-BY-NC-ND 3.0 RIHA Journal 0047 | 14 July 2012 | Special Issue "New Directions in New-I pressionism" impressionnistes. E partir de +,,5 les deux g2n2rations successives d(impressionnistes 6Monet Camille et 3ucien #issarro "eurat "ignac, 'lbert Dubois-#illet9 se retrouvaient aux cimaises des mFmes "alons4$ Il est aussi notoire que le maître de !iverny n(accorda pas d(attention particuliAre à la m2thode n2o-impressionniste et cela en d2pit du fait que Camille #issarro avait re&oint la nouvelle 2cole dans les ann2es +,,7.$ De plus, Monet dit s'Ftre int2ressé de façon distante à ses &eunes contemporains. 1He connais peu les &eunes. Chaque visite au "alon me d2courage m(ennuie1 aurait-il confi2 à )lorent )els5$ >nfin un article de )2n2on r2cemment r22dit2 rapporte l(opinion du peintre impressionniste sur "eurat dans les ann2es +-87I 1quand on a r2cemment interrog2 Claude Monet il a laissé poindre son indiff2rence sous sa pr2venance et d2clar2 qu(il 2tait dommage que le d2mon du systAme ait gât2 une forte sensibilit2 et qu(une mort pr2coce ait empFch2 la r2alisation des plus belles promesses"C$ >n s(interrogeant sur la place de Monet auprAs des n2o-impressionnistes, et en distinguant aussi ce qui revint à "eurat le m2thodiste et à "ignac, le coloriste notre proposition suggAre de faire 2merger des pistes nouvelles dans la recherche sur le n2o-impressionnisme$ 6top7 Dans la modernité de Monet /80 Charles 'ngrand disait Ftre parvenu au n2o-impressionnisme 1non sans des 2tudes interm2diaires se r2clamant de Monet,1$ 3e peintre divisionniste de l(2cole de *ouen r2vAle ici clairement l(importance qu(il avait accord2e = Monet dans sa &eunesse et ses ann2es d(apprentissage$ ;(une façon g2n2rale la rencontre avec l(impressionnisme et avec la peinture de Monet tout particuliArement a constitu2 une 2tape clef dans la formation des futurs divisionnistes. >ncore inconnus l(un de l(autre "eurat et "ignac l(ont d2couvert en visitant les expositions du groupe impressionniste 6dits alors des artistes ind2pendants9 et notamment la quatriAme exposition en +,C-$ Depuis cinq ans, la 4 Monet et les néo-impressionnistes exposaient par exemple au KK de @ruxelles$ Loir les 2changes de correspondances entre Mctave Maus et Monet 'rchives de l('rt contemporain en @elgique 6consultables en ligne httpINNwww$fine-arts-museum$be /derniAre visite le +< juin 87+809$ Mn peut 2galement lire l(article de Oo2mie !oldman, 1#aris et @ruxelles capitales de l(art moderne 6+,,4- +,-491 Revue mosaïque 8 6janvier 87+79 6revue en ligne httpINNrevuemosaique$netN?pP8. /derniAre visite le +< juin 87+809$ #r2cisons 2galement que le catalogue raisonné de l(Buvre d('lbert ;ubois-#illet fondateur du "alon de la "oci2t2 des artistes ind2pendants et militaire professionnel est actuellement en pr2paration sous la direction de #atricQ Mffenstadt$ . #ar exemple la bibliothèque personnelle de Claude Monet ne compte pas d(ouvrages portant sur le néo-impressionnisme ni les ouvrages scientifiques qui avaient inspir2 "eurat et ses compagnons 6comme Chevreul ou *ood9$ Monet en revanche avait pu lire des articles les concernant ou 2crits par "ignac dans les pages de La Revue blanche dont sa bibliothèque compte de nombreux volumes$ 5 'ndr2 Lhote De la palette à l'écritoire, 84C$ La citation ne pr2cise pas de quel "alon il s(agit ici$ C )2néon avait fait allusion à cet article originellement publi2 dans Der uerschnitt 6octobre +-859 sans mentionner pr2cis2ment en Ftre l(auteur dans le !ulletin "e la vie artistique du +. novembre +-85$ 3(article fut r22dit2 en langue française en 87+7 par les 2ditions 3(Échoppe sous le titre 1!eorges "eurat et l(opinion publique1$ Loir 8+ de cette 2dition. , Charles 'ngrand #orrespondances, $%%&-$'() 2d$ )rançois Lespinasse *ouen +-,, <7-<+$ License: /he text o* this article is provided under the terms o* the Creative Commons License CC-BY-NC-ND 3.0 RIHA Journal 0047 | 14 July 2012 | Special Issue "New Directions in New-I pressionism" peinture impressionniste 2tait pr2céd2e par sa r2putation sulfureuse$ 13(2tude de ces Buvres relevait surtout de la physiologie et de la m2decine 1ou encore1 leurs r2tines 2taient malades-1 rappelait Horis-Sarl Tuysmans à propos des commentaires formul2s par l(opinion publique$ Cela ne d2couragea pas le &eune "ignac, qui expliqua que la visite de cette exposition impressionniste avait 1d2cid2 de /s]a carriAre+71$ Monet figurait dans cette exposition de groupe dont il demeura adh2rent encore trois ans. >n &uin +,,7 "ignac visita l(exposition Monet organisée par l(2diteur Charpentier dans la galerie de la revue La *ie mo"erne++$ Il ne connaissait pas personnellement le maître mais la pr2face du catalogue sign2e Th2odore Duret d2crivait Monet au travail courant les champs, bravant le soleil et la neigeI "ur son chevalet il pose une toile blanche il commence brusquement à la couvrir de plaques de couleur qui correspondent aux tâches color2es que lui donne la scène naturelle entrevue$ "ouvent pendant la premiAre s2ance il n(a pu obtenir qu(une 2bauche$ 3e lendemain revenu sur les lieux il ajoute à la premiAre esquisse et les d2tails s'accentuent les contours se pr2cisent$ Il procède ainsi plus ou moins longtemps &usqu(= ce que le tableau le satisfasse+8$ /<0 Uuelques ann2es plus tard Monet 2tait encore 1un des plus insult2s, parmi les insult2s. Mn le traitait de barbouilleur insigne+<1$ /40 3a mFme ann2e +,,7 le &eune Charles 'ngrand pr2sentait à l(>xposition municipale de sa ville natale de *ouen une Buvre qui fit sensationI +are ,aint-,ever vue "u pont +rammont 6disparue9$ 3a toile fut d2crite par le critique 'lfred Darcel hostile aux novateurs, dans le -ournal "e RouenI 1LoyeV la gare "aint-"ever$ 3es locomotives sont bleues, /W0 ce bleu il l(a associ2 au violet du ciel le violet 2tant du bleu modifi2 par du rouge le &aune du ballast s'harmonisant par contraste à ce mFme violet$ Tout cela est voulu mais n(est pas fait et c'est en ce sens que ce paysage – quel paysageX appartient à - Horis-Sarl Tuysmans 13(Exposition des %nd2pendants en +,,71 dans .uysmans, Écrits sur l'art1 L'art mo"erne1 #ertains1 2rois primiti3s, #aris 877, +7,$ +7 Lettre de "ignac à Monet +-+8 'rchives Claude MonetI correspondance d(artiste collection Monsieur et Madame CorneboisI vente #aris TYtel ;assault mercredi +< d2cembre
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