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Det Skapende Øyeblikk. Georges Braque, 1906-1917

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Det Skapende Øyeblikk. Georges Braque, 1906-1917 DET SKAPENDE ØYEBLIKK ... GEORGES BRAQUE 1906 TIL 1917 EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS ... Hovedoppgave i kunsthistorie Universitetet i Oslo Høsten 2000 Knut Steinar Bøe GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 2 AV 2 — But you’re making it all up as you go along, sir! — Of course I am, said Chief Inspector Morse. Colin Dexter GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 3 AV 3 INNHOLDSFORTEGNELSE INNHOLDSFORTEGNELSE 3 FIGURLISTE 6 FORORD 9 1. BRAQUE’S ESTETIKK ANNO 1917 11 1.1 Omkring Braque’s «Tanker og refleksjoner om maleriet», 1917 11 1.1.1 Omstendighene, opphavet og tilknytningen til den estetiske praksis 11 1.1.2 Den litterære form: refleksjonens karakter og dens formale opphav 15 1.1.3 Tanker som uttrykk for en produksjonsestetikk 19 1.1.4 Resepsjon og tidligere kritisk vurdering: behovet for en enhetlig analyse 20 1.1.5 Tanker sett i forhold til kubismen og den større estetiske kontekst 22 1.2 Begrensningens kunst, midlenes begrensning (Tanke 1, 2) 29 1.3 Midlene og motivet: lyrismen og det skapende øyeblikk (Tanke 3, 4, 5) 35 1.4 Antimimesis: billedfaktum, representasjon og aspekt (Tanke 6, 7, 8) 50 1.5 Naturen og kunsten (Tanke 9) 56 1.6 Den skapende instans: ånden vs. sansene (Tanke 10) 58 1.7 De nye midlene (Tanke 11, 12) 66 1.8 Sinnsbevegelse og beherskelse (Tanke 13, 14) 69 1.9 Oppsummering 71 2. BRAQUE I L’ESTAQUE: LANDSKAPET OG DET SKAPENDE ØYEBLIKK 72 2.1 Braque om naturen, skjønnheten og det absolutte (anno 1908) 72 2.2 Digresjon og oppklaring: det skapende øyeblikk og det sublime 80 2.2.1 Det skapende øyeblikk og framstillingen av det absolutte 80 2.2.2 Det skapende øyeblikk, gjenopplevelsen og gjenskapelsen 90 2.3 Braque og gjenskapelsen: motivet mellom ferdiggjort idé og modell 95 2.3.1 Forbildet av Cézanne: den ferdigjorte idé og innvirkningen fra modellen 95 2.3.2 Modellen i den estetiske praksis: impresjonismen og impulsen fra fauvismen 98 2.3.3 Det skapende øyeblikk: Braque mellom landskapet, Cézanne og fauvismen 101 2.3.4 Den fauvistiske fargelyrismen og sammenhengen med Braque’s lyrismebegrep 108 2.3.5 Fauvismen endelikt: det vitale forholdet mellom modellen og entusiasmen 110 GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 4 AV 4 2.4 Viaduktene i l’Estaque: det absolutte og «viljen til å konstruere» 113 2.4.1 Mot det absolutte: Cézanne og maleriets hemmelighet 113 2.4.2 Braque’s første viadukt: den begynnende løsrivelsen fra modellen 116 2.4.3 Braque’s andre viadukt: modellen som medspiller i løsrivelsens praksis 120 2.4.4 Mot det integrerte verk: forestillingens dynamikk og motivets nye orden 123 2.5 Husene i l’Estaque: formrim, analogisering og motivets nye integritet 128 2.5.1 Husene i l’Estaque: samme modell, nytt motiv 128 2.5.2 Passasjen som analogiserende middel: en tuskhandel mellom former og farger 129 2.5.3 Analogiseringens poetikk: Braque’s lyrisme og dens opprinnelige utspring 131 2.5.4 Husene i l’Estaque og begynnelsen på samarbeidet med Picasso 137 3. STILLEBEN GILLETTE: MOTIVET OG MIDLENE 140 3.1 Innledning: metode så langt — og en ny vending 140 3.2 Papier collé som formal revolusjon og estetiske hendelse 141 3.2.1 Stilleben Gillette og Braque’s papiers collés: en introduksjon 141 3.2.2 Papier collé vs. collage: et estetisk vannskille 142 3.2.3 Papier collé som estetisk hendelse: den integrerte estetiske åpenbaring 149 3.2.4 Papier collé som formal-estetisk revolusjon: billedflatens nye rolle 154 3.3 Dialektikken mellom billedrom og billedflate 157 3.3.1 Det nye billedrommet 157 3.3.2 Den materialiserte rom: persepsjon og taktilitet 159 3.3.3 En ytteligere materialisering: mellom taktilitet og visualitet 162 3.3.4 Materialisasjon og billedflaten 165 3.3.5 Billedflaten som middel: fra passiv støttespiller til aktivisert motspiller 168 3.3.6 Materialisasjonen og abstraskjonen: billedgrunnen som males fram 170 3.3.7 Det alluderte rom: Papier collé og integrasjonen mellom rom, grunn og flate 173 3.4 Papier collé og fargen som selvstendig middel 177 3.5 Papier collé og den estetiske praksis: en oppsummering 183 3.5.1 Billedflaten som arbeidsflate: Komposisjon, materialitet og midler 183 3.5.2 Billedflatens nye aspekt og sammenhengen med oljemaleriet 184 3.5.3 Materialiteten og fornyelsen av gamle midler 185 4. STILLEBEN GILLETTE: MOTIVET OG FORTOLKNINGEN 187 4.1 Betrakteren og motivet: oppfatning, forståelse og fortolkning 187 4.2 Formal fortolkning: motivet og det latente bildet 189 4.2.1 Kahnweiler’s assimilasjon: motivet som det evidente, latente bildet 189 4.2.2 Det latente bilde i den vitenskapelige kritikk: fra evidens til ambivalens 193 4.2.3 Den formale betydning: ambivalensen som integrerende faktor 196 4.3 Interpreterende fortolkning: motivet og den latente betydning 202 4.3.1 Den formale betydning vs. den latente betydning 202 4.3.2 Alvin Martin leser Brague: det skjulte bilde og den gjemte betydning: 202 4.3.3 Mark Roskill leser Braque: den frigjorte betydningen 205 4.3.4 Oppsummering: betydningen som integrert middel 211 4.4 Integrert fortolkning: skriftbildet og betydningen som middel 212 4.4.1 Skriftbildet og betydningen: den fragmenterte betydning 212 4.4.2 Skriftbildet & i Le Portugais: skriftbildet som formal-estetisk metafor 214 4.4.3 Skriftbildet som integrert middel: flertydighet og tvetydighet i estetisk prakis 216 GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 5 AV 5 4.5 Stilleben GILLETTE som et manifest: en integrerende fortolkning 220 4.5.1 Stilleben GILLETTE: mot en beskrivelse 220 4.5.2 Glasset i Stilleben GILLETTE: figurasjonen i den estetiske praksis 222 4.5.3 Formrimet i Stilleben GILLETTE: sammenhengene i den estetiske praksis 224 4.5.4 Skriftbildet i Stilleben GILLETTE: betydningen satt inn i sammenhengene 225 4.5.5 Om et spesielt motivisk element i Stilleben GILLETTE 226 4.5.6 Utspringet: etiketten GILLETTE og det skapende øyeblikk 228 4.5.7 Barberbladet GILLETTE: Skriftbildets første, denotative, formale betydning 229 4.5.8 Kvinnenavnet Gillette: Skriftbildets andre, assosiative, semantiske betydning 232 4.5.9 Det absolutte og det ideale: Stilleben GILLETTE lest som et estetisk manifest 236 5. «BRING DET UTENFOR, I SOLA» 241 6. KORT RESYME 243 7. APPENDIKS 244 7.1 Appendiks 1: «Pensées et réflexions sur la peinture» 244 7.2 Appendiks 2: L’Estaque mellom Cézanne og Braque — Kildene forteller 246 8. LITTERATURLISTE 261 9. FARGEPLANSJER M/FIGURER 266 GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 6 AV 6 FIGURLISTE Fig. 1 Georges Braque, Le Port de l’Estaque, 1906 Olje på lerret, Fondation Fridart (Cantini 94, ill. 83) Fig. 1a Paul Cézanne, Le Golfe de Marseille vu de l’Estaque, 1885 Olje på lerret, Rew. 626 Fig. 2 Georges Braque, L’Estaque, 1906-7 Olje på lerret, Privat samling, Zürich (Cantini94, kat. nr. 25) Fig. 2a Paul Cézanne, Le Neige fondue à l’Estaque, 1870 Olje på lerret, Rew. 157 Fig. 2b Georges Braque, L’Estaque, 1906-7 Olje på lerret, Centre Georges-Pompidou, Paris (Cantini 94, kat. nr. 28) Fig. 3 Georges Braque, Le Viaduc de l’Estaque, 1907 Olje på lerret, R. 1 Fig. 3a August Macke, Montée vers le viaduc de Riaux, april 1914 Fotografi (Detalj), Cantini 94, ill. 115 Fig. 4 Georges Braque, Le Viaduc à l’Estaque, 1907-8 Olje på lerret, R. 12 Fig. 4a Richard Patatut, Modellen til Fig. 4, publ. i 1994 Fotografi, Cantini 94, ill. 188 Fig. 4b Fig. 4 påført strukturelt antydende linjer (til sammenlingning med Fig. 4c) Fig. 4c Fig. 4a påført strukturelt antydende streker (til sammenlingning med Fig. 4b) Fig. 5 Georges Braque, Maisons à l’Estaque, august 1908 Olje på lerret, R. 14 Fig. 5a Georges Braque, Maison à l’Estaque, august 1908 Olje på lerret, R. 15 Fig. 5b D. H. Kahnweiler, Modellen til Fig 5b og 5, høst 1910 Fotografi, Galerie Louise Leiris, Paris, (Rubin 77, s. 178, Cantini 94, ill. 74) Fig. 6 Georges Braque, Broc et violin, 1909-10 Olje på lerret, R. 59 Fig. 7 Georges Braque, Les Usines de Rio-Tinto à l’Estaque, høst 1910 Olje på lerret, R. 68 Fig. 8 Georges Braque, Bouteille et poissons, høst 1910 Olje på lerret, R. 67 GEORGES BRAQUE 1906—1917: EN TEORETISK STUDIE OM ESTETIKK I PRAKSIS SIDE 7 AV 7 Fig. 8a Pablo Picasso, Pigeon et petis pois, vår 1912 Olje på lerret, D. 453 Fig. 9 Georges Braque, Le Portugais, vår 1911 Olje på lerret, R 80 Fig. 10 Georges Braque, Hommage à J. S. Bach, vinter-vår 1912 Olje på lerret, R. 122 Fig. 11 Georges Braque, Verre et pipe SODA, vår 1912 Olje på lerret, R. 136 Fig. 11b Pablo Picasso, Nature morte à la chaise canné, mai 1912 Collage og olje på lerret, D. 466 Fig. 12 Georges Braque, Le Violin MOZART KUBELICK, vår 1912 Olje på lerret, R. 121 Fig. 12a Pablo Picasso, Paysage aux affiches, juli 1912 Olje på lerret, D. 501 Fig. 13 Georges Braque, Compotier et verre BAR, sept. 1912 Papier collé, R. 150, M.F. 1 Fig. 13a Georges Braque, Compotier QUOTIDIEN DU MIDI, aug.-sept. 1912 Olje og sand på lerret, R. 148 Fig. 13b Georges Braque, Compotier et cartes, vinter 1913 Olje, blyant og kullstift på lerret, R. 151 Fig. 13c Pablo Picasso, Guitare, partition et verre, nov. 1912 Papier collé, D. 513 Fig. 14 Georges Braque, BAL, høst-vinter 1912 Papier collé, R. 166b, M.F. 16 Fig.
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