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Conférence Représenter La Grande Guerre

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Conférence Représenter La Grande Guerre REPRÉSENTER LA GRANDE GUERRE : les artistes du front, entre engagement militaire, patriotisme artistique et diplomatie culturelle de guerre Conférence de Mme Sylvie Le Ray-Burimi, conservateur en chef au musée de l’Armée Musée barrois, le 4 février 2015 Guillaume Apollinaire (1880-1918), Autoportrait en artilleur , 1916 (Paris, musée de l’Armée) Les Invalides et le musée de l’Armée, lieu de présentation des premières missions de peintres sur le front (novembre 1914-avril 1915) L’invention d’un territoire, celui du front, et de la renaissance d’un genre, celui du paysage historique ? Joseph Aubert (1849-1924). Mise au tombeau dans les tranchées, 1916. Tableau mis en place lors des funérailles du général Gallieni, Eglise Saint-Louis des Invalides [1 er juin 1916] : [photographie de presse] / [Agence Meurisse] Charles Huard, artiste missionné par le musée de l’Armée Demande du général Niox, directeur du musée de l’Armée, au Général commandant la 6 e armée au bénéfice de Charles Huard, 5 janvier 1915 Charles Huard (1875-1965), Tombes près d’une meule de paille, 1914-1915 (Paris, musée de l’Armée) Charles Huard (1875-1965), Convoi anglais, Coulommiers, septembre 1914 (Paris, musée de l’Armée) Émile Charrière, Salon des armées réservé aux artistes du front au profit des œuvres de guerre , 22 décembre 1916- 22 février 1917 (Nanterre, BDIC) Section photographique de l’Armée, Paris, Salon des armées au jeu de Paume. M. Dalimier sous-secrétaire d’Etat aux Beaux-Arts le jour de l’inauguration, 22 décembre 1916 (Nanterre, BDIC) Lettre de Melchior de Polignac à M. Guy, New-York, 17 janvier 1917. Archives du Ministère des Affaires Etrangères, papiers Berthelot, Etats-Unis à propos des expositions itinérantes organisées par le War Exhibit Committee « Vous savez que nous sommes réunis, les Anglais, les Canadiens et nous- mêmes et qu’à nous trois nous formons une exposition. La France est représenté par le ménage Charles Huard que cela amuse et intéresse (…) J’ai demandé à Berthelot [dir. de cabinet du Ministre], par dépêche, l’autorisation de lui passer complètement la main. Ainsi à l’avenir pour tout ce qui concerne les bazars, expositions, matériel de guerre, adressez-vous au Baron Charles Huard, 44 Grammercy Park NY. Ce dernier, du reste, est charmant, connait bien les Etats-Unis (sa femme est américaine) parle admirablement anglais, est artiste et en même temps, plein de bon sens et pratique. (…) Nous nous entendu à merveille au point de vue propagande (il reste entendu que les bazars et expositions constituent une propagande de premier ordre et nous pourrons collaborer utilement ». Philippe Berthelot, fondateur de la Maison de la presse en 1916, photographie prise en 1920, à Washington avec Jean Jules Jusserand (à gauche) et Aristide Briand (à droite) La diffusion à l’étranger des œuvres des artistes missionnés sur le front est favorisé par le Ministère des affaires étrangères à partir de 1916 Charles Huard (1875-1975), The War sketches of Charles Huard. New-York : Wood , 1916. Suite de 20 lithographies originales. Charles Huard (1875-1975), « Refugees on the road between Châteu-Thierry and Montmirail, septembre 14 » from The War sketches of Charles Huard. New- York : Wood , 1916. Charles Huard (1875-1975), « Types in the British Camp, december 14 » from The War sketches of Charles Huard. New-York : Wood , 1916. Charles Huard (1875-1975), « Dawn in the trenches near Berry au Bac, january 15 » from The War sketches of Charles Huard. New-York : Wood , 1916. Deux expositions concurrentes sur le sol américain en 1916 et 1917 : Charity Bazar for the Widow and orphans of German, Austrian, Hungarian and their allied soldiers et National allied New York, 1916 et Boston, 1917 (affiches) « Die Arbeitsgebiete unserer Künstler im Felde ». Illustrirte Zeitung , n° 3783, 30 décembre 1915 (Nanterre, BDIC) Ludwig Dettmann (1865-1944). Porträt zweier Soldaten mit Stahlhelm , 1918 (Berlin, Deutsches Historisches Museum Berlin) Ludwig Dettmann (1865-1944). Verwüstetes Schlachtfeld , 1918 (Berlin, Deutsches Historisches Museum Berlin) Maurice Denis, Félix Vallotton, Louis Charlot : artistes missionnés par le sous-secrétariat aux Beaux-Arts Anonyme, Maurice Denis en mission , dans les ruines d’une église de l’Oise , octobre 1917 (Paris, musée de l’Armée) «Qu’est que je vaux ? Est-ce que je suis prêt à me sacrifier pour Dieu, pour ma patrie, pour le roi ? […] Que les Germains soient anéantis, que périssent, avec le Kantisme, toute les drogues et toute la camelote philosophique, sociale, esthétique des Teutons, et je crois qu’une grande renaissance est possible dans l’ordre français et suivant les idées de l’Action française » Maurice Denis, Journal , 1915 Maurice Denis (1870-1943), Le Cimetière de Benay , 1917 (Paris, musée de l’Armée) Maurice Denis (1870-1943), Soirée Calme en première ligne, 1917 (Nanterre, BDIC) Félix Vallotton (1865-1925). Le Cimetière militaire de Châlons , 1917 (Nanterre, BDIC) Section photographique de l’Armée, Châlons-sur-Marne, Cimetière militaire de Châlons comprenant 4300 tombes au 155 avril 1916 (Nanterre, BDIC) Félix Vallotton (1865-1925), Le Cratère de Souain , 1917 (Nanterre, BDIC) Louis Charlot (1854-1951), Sénégalais, 1917 (Nanterre, BDIC, dépôt du CNAP) Les cas d’Édouard Vuillard et André Devambez Edouard Vuillard (1868-1940), L’Interrogatoire , février-mars 1917 (Nanterre, BDIC, dépôt du CNAP, achat de l’Etat au salon des peintres aux armées en 1917) Section photographique de l’Armée, Musée du Luxembourg. Exposition des peintres en mission aux armées. Panneaux de Peirat et Vuillard, mars 1917 (Nanterre, BDIC) André Devambez, Verdun , 1917 (Paris, musée de l’Armée) Section photographique de l’Armée, Musée du Luxembourg. Exposition des peintres en mission aux armées. Panneau d’André Devambez , mars 1917 (Nanterre, BDIC) Expositions et missions sur le front austro-italien Palazzo Colonna. A beneficio/ della /Croce Rossa/ italiana/Esposizione/ di pitture e disegni di guerra/ al fronte francese/ Roma / maggio 1916/ Il 10 maggio 1916 venne inaugurata nella galleria di palazzo Colonna a Roma, una mostra di pitture (...) di artisti francesi sulla guerra in corso. Roma, Danesi, 1916 Reproduction dans L’Illustration de La Garde du drapeau (1915), huile sur toile de Georges Scott acquis par la reine Marguerite de Savoie à l’issue de l’exposition de la Galleria Colonna à Rome Georges Scott (1873-1943), Téléphérique transportant un blessé sur la Terza Tofana , 1917 (Paris, musée de l’Armée) George Scott (1873-1943 ), Monfalcone. Ruines des usines Adria-Werke après les bombardements, 1917 (Paris, musée de l’Armée) George Scott (1873-1943), Venise. Ruines de santa Maria Formosa après les bombardements autrichiens , 1917 (Paris, musée de l’Armée) George Scott (1873-1943), Venise. Monument à Bartolomeo Colleoni protégé contre les bombes , 1917 (Paris, musée de l’Armée) Georges Scott (1873-1943), Venise, cour du Palais des Doges, 1917 (Paris, musée de l’Armée) George Scott (1873-1943), Venise. Basilique San Marco, escalier des géants protégé contre les bombes , 1917 (Paris, musée de l’Armée) George Scott (1873-1943), Venise. Intérieur de la basilique San Marco, protégé contre les bombes, 1917 (Paris, musée de l’Armée) Georges Scott (1873-1942), Basilique d’Aquilée (Frioul) , juillet 1917 (Paris, musée de l’Armée) « Quant à moi, j’ai perdu tout espoir de voir nos ennemis « prêter l’oreille aux protestations des nations civilisées contre les dommages qu’ils causent aux œuvres d’art ; aussi ne puis-je croire qu’ils consentiront à mettre un terme à leurs agissements iniques. Ils sont entrés brutalement en guerre, non pour faire triompher des droits et des idées, mais pour imposer une avide suprématie d’intérêts matériels, de sorte qu’ils témoignent, cela va de soi, le plus profond mépris pour les droits des autres et pour les idées. En effet, tandis que la cathédrale de Reims – qui n’est déjà plus qu’un squelette - continue à être le point de mire de la férocité teutonne, les bombes autrichiennes, avec une perversité vigilante, cherchent où mieux frapper et incendier la basilique d’Aquilée ». Lettre de Corrado Ricci, directeur directeur général des Antiquités et des Beaux-Arts au président de la Société Léonard de Vinci, Rome le 15 juillet 1917. Reproduit dans La Société Léonard de Vinci et la défense des monuments pendant la guerre , Florence, 1917. Georges Scott (1873-1943), Le San Michele, vu de la tranchée des morts depuis San Martino del Carso , 1917 (Paris, musée de l’Armée) Illustrazione Italiana , 29 juillet 1917 Service photographique de l’Aéronautique italienne. Panorama de la vallée de vallée de l’Isonzo et Panorama d’Asiago après le bombardement du 11 juillet 1916 , [1916-1918] (Paris, musée de l’Armée, inv. 1211-2-76 C1) Albert Reich (1881-1942), La Vallée de l’Isonzo vue depuis Tolmino , 1917 (Ingolsatdt, Bayerische Armeemuseum) Armin Horovitz (1880-1965), Gebirgsbatterie auf dem Monte Gusella , 1918 (Vienne, Heeresgeschichtlichesmuseum) Raid sur Vienne. Photographie d'un ensemble de prises de vues réalisées dans les Alpes par le Servizio Fotografico dell'Aeronautica de l'armée Italienne entre 1915 et 1918, 9 août 1918 (Musée de l’Armée, 1211.2.53 C1 ; P323) Servizio Fotografico dell'Aeronautica de l'armée Italienne, Avion de retour du raid sur Vienne, 1918 (Paris, Musée de l’Armée, inv. 1211.2.51C1 ; P323) Expositions et missions sur le front des Balkans et des Dardanelles Henry Valensi (1883-1960), Catalogue de l’exposition documentaires d’œuvres peintes aux Dardanelles, Paris, galerie Druet, 1917 Anonyme, La tranchée dite
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