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Nadeau David 2014 Memoire.Pdf UNIVERSITÉ DE MONTRÉAL Influence de l'iconographie duchampienne dans Les Célibataires, vingt ans plus tard, de Roberto Matta par David Nadeau Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des arts et des sciences en vue de l’obtention du grade de Maîtrise ès arts en histoire de l’art Mars 2014 © David Nadeau, 2014 UNIVERSITÉ DE MONTRÉAL Faculté des études supérieures Ce mémoire intitulé : Influence de l'iconographie duchampienne dans Les Célibataires, vingt ans plus tard, de Roberto Matta présenté par David Nadeau a été évalué par un jury composé des personnes suivantes : Madame Louise Vigneault directrice de thèse Madame Suzanne Paquet présidente du jury Madame Johanne Lamoureux membre du jury Mémoire accepté le 6 février 2014 i Résumé L’alchimie, science de la manipulation des influences spirituelles par une métallurgie sacrée, et la pataphysique, esthétique pseudo-scientifique associant l'ésotérisme à l'humour, sont les deux principaux fondements idéologiques qui unissent Marcel Duchamp et Roberto Matta. Tandis que Duchamp s'intéresse déjà à l'ésotérisme dès 1910, soit près d'une vingtaine d'années avant sa rencontre avec Matta. Ce dernier aborde, dans sa production, des thèmes propres à la littérature alchimique, soit les opérations occultes, les états merveilleux de la matière et les appareils de laboratoire. De plus, les écrivains symbolistes et pseudo-scientifiques, lus par Duchamp, puis par Matta, influencent l'humour pataphysique, teinté d'ésotérisme, qui s'exprime dans la production de ces deux artistes. Ainsi, Les Célibataires, vingt ans plus tard, est une huile sur toile, réalisée en 1943, par Roberto Matta, qui représente un paysage cosmique, composé d'astres et de trous noirs, de trois alambics et d'une grande machine noire. Dans cette œuvre, Matta réinterprète très librement certains éléments du Grand verre, une peinture sur verre de Marcel Duchamp, laissée inachevée en 1923. Le présent mémoire de maîtrise étudie l'influence de l'alchimie et de l'iconographie duchampienne sur Les Célibataires, vingt ans plus tard. Dans un premier temps, cette étude vise à mettre en exergue et à examiner les influences alchimiques et pataphysiques dans l'œuvre de Matta. Dans un deuxième temps, notre mémoire vise à démontrer comment l'œuvre de Matta s'intègre dans le projet surréaliste de création d'un mythe nouveau, dans la continuité du projet duchampien. Mots-clés : Roberto Matta, Marcel Duchamp, surréalisme, alchimie, pataphysique ii Abstract Alchemy, the science of handling spiritual influences through sacred metallurgy, and Pataphysics, a pseudo-scientific aesthetic combining Esotericism and humor, are the two main ideological foundations uniting Marcel Duchamp and Roberto Matta. On one hand, while Duchamp already has an interest for Esotericism in 1910, that is to say, about twenty years before his first encounter with Matta. On the other hand, Matta addresses, in his production, themes specific to alchemical literature, that is to say occult operations, marvelous states of matter and laboratory equipment. Also, symbolist and pseudo-scientific writers, read by Duchamp, and then by Matta, have an influence on the pataphysical humor, permeated by Esotericism, expressed in the production of both artists. Therefore, Les Célibataires, vingt ans plus tard, is an oil on canvas, elaborated in 1943, by Roberto Matta, representing a cosmic landscape, made of stars and black holes, of three alembics and of a large black machine. In this painting, Matta very freely reinterprets some elements from the Grand verre, a painting on glass by Marcel Duchamp, left unfinished in 1923. This master thesis examines the influence of Alchemy and of the iconography of Duchamp on Les Célibataires, vingt ans plus tard. In the first part, this study aims to highlight and to examine alchemical and pataphysical influences within the work of Matta. In the second part, our thesis aims to demonstrate how the work of Matta integrates in the Surrealist project of creating a new myth, in the continuity of the project of Marcel Duchamp. Keywords : Roberto Matta, Marcel Duchamp, Surrealism, Alchemy, Pataphysics iii Table des matières Résumé .............................................................................................................................................. i Abstract ........................................................................................................................................... ii Table des matières .......................................................................................................................... iii Liste des figures .............................................................................................................................. iv Remerciements ................................................................................................................................ vi Introduction ...................................................................................................................................... 1 Chapitre I : Contexte historique ..................................................................................................... 11 1.1 Roberto Matta et le mouvement surréaliste .......................................................................... 11 1.2 La collaboration entre Roberto Matta et Marcel Duchamp .................................................. 20 1.3 Les relations avec la scène artistique new-yorkaise ............................................................. 27 Chapitre II : Analyse iconographique ............................................................................................. 32 2.1 L’iconographie duchampienne .............................................................................................. 32 2.2 L’alchimie ............................................................................................................................. 40 2.3 L’automatisme comme technique et comme métaphore ...................................................... 47 Chapitre III : Théorie de l’artiste .................................................................................................... 52 3.1 La fonction métaphorique de la représentation spatiale ....................................................... 52 3.2 La figuration « élémentaire »................................................................................................ 56 3.3 Le développement des facultés de clairvoyance ................................................................... 62 Chapitre IV : Les Célibataires de Matta et le projet surréaliste ..................................................... 67 4.1 Marcel Duchamp, l’alchimie et le surréalisme ..................................................................... 67 4.2 Le « mythe » surréaliste des Grands Transparents ............................................................... 75 4.3 L’utopie surréaliste ............................................................................................................... 88 Conclusion ...................................................................................................................................... 93 Bibliographie ................................................................................................................................ 100 iv Liste des figures Figure 1 – Roberto Matta, Les Célibataires, vingt ans plus tard. 1943, Huile sur toile, 96.5 cm x 127 cm, Musée d’art de Philadelphie, Philadelphie. Source: www.marcelduchamp.net/marcelduchamp_images.php?&pageNo=36 Figure 2 – Marcel Duchamp, Le Grand verre. 1915-1923, Huile, vernis, feuille et fil de plomb sur verre, monté sous deux plaques de verre, 277,5 cm x 175,9 cm, Musée d’art de Philadelphie, Philadelphie. Source : en.wikipedia.org/wiki/The_Bride_Stripped_Bare_by_Her_Bachelors,_Even Figure 3 – Roberto Matta, Horoscope. 1937, Graphite et crayons de couleur sur papier, 32.45 cm x 50.2 cm, Collection d'Edwin A. Bergman, Chicago. Reproduit dans Colette Dartnall et Elizabeth A.T. Smith (com.), Matta in America, 30 septembre 2001-6 janvier 2002 (catalogue d'exposition), Chicago et Los Angeles : Musée d'art contemporain de Chicago et Musée d'art contemporain de Los Angeles, 2001, p. 38-39. Figure 4 – Marcel Duchamp, Passage de la vierge à la mariée. 1912, Huile sur toile, 59.4 cm x 54 cm, Musée d'art moderne, New York. Source : www.moma.org/collection/object.php?object_id=79044 Figure 5 – Roberto Matta, Années de peur. 1941, Huile sur toile, 111.8 cm x 137 cm, Musée Solomon R. Guggenheim, New York. Reproduit dans Colette Dartnall et Elizabeth A.T. Smith (com.), Matta in America, 30 septembre 2001-6 janvier 2002 (catalogue d'exposition), Chicago et Los Angeles : Musée d'art contemporain de Chicago et Musée d'art contemporain de Los Angeles, 2001, p. 58-59. Figure 6 – Marcel Duchamp, À regarder (de l'autre côté du verre), d'un œil, de près, pendant presque une heure. 1918, Huile, feuille d'argent, fil de plomb, loupe grossissante, montés sous deux panneaux de verre, dans un cadre en métal, 51 cm x 141.2 cm x 13.7 cm, Musée d'art moderne, New York. Source : www.moma.org/collection/provenance/provenance_object.php?object_id=78993 Figure 7 – Marcel Duchamp, Neuf moules mâlics. 1914-1915, Huile, fil de plomb sur verre, monté sous deux plaques de verre, 66 cm x 101.2 cm, Centre Pompidou, Paris. Source : www.centrepompidou.fr/cpv/ressource.action Figure 8 – Marcel Duchamp, Piston
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