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Richer Angele 2009 Memoire.Pdf (5.355Mb) Université de Montréal Art québécois moderne (depuis 1940) au musée : Regard sur la mise en scène permanente des collections Par Angèle Richer Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la faculté des études supérieures en vue de l’obtention du grade de Maître ès arts (M.A.) en histoire de l’art octobre, 2009 © Angèle Richer, 2009 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Art québécois moderne (depuis 1940) au musée : Regard sur la mise en scène permanente des collections Présenté par : Angèle Richer A été évalué par un jury des personnes suivantes : Christine Bernier Président-rapporteur Johanne Lamoureux Directeur de recherche Élise Dubuc membre du jury i Résumé L’objet de ce mémoire porte sur les collections muséales d’art québécois des vingtième et vingt-et-unième siècles. Il a pour objectif de cerner la médiation entre le contenu exposé et le visiteur, mais encore et avant tout, de contribuer à l’étude de trois institutions qui, ensemble, mettent le patrimoine en valeur et établissent la doxa de l’histoire de l’art québécois moderne ou contemporain au sein de la nation. Nous chercherons à saisir l’exposition en tant que médium, moyen de communication, et plus précisément, comme vecteur de l’histoire de l’art québécois et de l’œuvre. Il s’agit donc d’étudier comment le cadre spécifique et construit de l’exposition peut inviter les visiteurs à circuler au sein de l’espace et leur proposer un récit (partiellement ou entièrement) chronologique ou thématique, national ou international, contemplatif ou didactique, à partir des œuvres d’une collection donnée. Pour ce faire, notre attention se portera sur les expositions permanentes des collections d’art moderne et contemporain, déjà installées entre 2006 et 2008, dans les musées suivants : le Musée d’art contemporain de Montréal, le Musée national des beaux-arts du Québec et le Musée des beaux-arts de Montréal. Nous choisirons au sein de chacun d’entre eux, une exposition paradigmatique. Autour de chacune de ces expositions, notre propos s’organise en deux volets, correspondant aux deux étapes majeures de la réalisation d’une exposition : le scénario puis le montage, qui nous permettent d’aborder respectivement le concept de l’exposition et sa concrétisation. Notre introduction proposera d’abord un historique de la mise en scène de l’art au sein du musée occidental. Elle définit ensuite la terminologie et les concepts nécessaires au développement de la problématique et établit les paramètres que nous retiendrons pour l’analyse des cas institutionnels choisis. Trois chapitres sont respectivement consacrés à chacune des expositions retenues. En conclusion, une brève comparaison résume les modalités discursives et décoratives propres à la mise en exposition de ces trois collections muséales d’art québécois (depuis 1940) afin que nous puissions plus ou moins déterminer la position doxique de chaque institution dans le cadre des expositions choisies. Mots-clefs : Musée d’art contemporain de Montréal, Musée national des beaux-arts du Québec, Musée des beaux-arts de Montréal, discours expositionnel, XXe-XXIe siècles. ii Abstract This dissertation revolves around collections of modern and contemporary Quebecois art of the twentieth and twenty-first centuries. Its intent is to grasp the ways through which content is mediated and directed toward the visitor within the museum exhibition as a medium. What is more, there is a desire to contribute to the study of three institutions: the Musée d’art contemporain de Montréal, the Musée national des beaux-arts du Québec and the Montreal Museum of Fine Arts. Together they determine the cultural value of heritage and establish art historical doxa, both modern and contemporary, within the nation of Quebec. This paper seeks to master the understanding of the exhibition medium as a vector of discourse through the use of objects. It will study how this specifically constructed frame invites the visitor to circulate within a given space and discover, by means of the art on display, a discourse which is either (partially or entirely) chronological or thematic, national or international, contemplative or didactic in nature (also considering the varying degrees between these polarities). Analysis is based on three case studies, all permanent exhibitons of modern or contemporary art on view between 2006 and 2008 in those museums aforementioned. One exhibition is selected to serve as a paradigm for each of these institutions. Data is organized into two parts, together corresponding to the two major stages implicated in the making of an exhibition: the scenario (planning or conceptual stage) and the montage (the making of or design process). The introduction commences by a brief overview of the Western history of museum exhibitions as art displays. Terminology is then defined. Parameters pertaining to the selection of the case studies and concepts necessary for the establishment of the issue at hand are presented. Three chapters follow, one for each museum studied. In the conclusion, discursive and decorative modalities proper to this exhibition type are briefly summed up and compared for each of the three museum collections of québécois art under study. This is done with the purpose of determining where the discourse of each case exhibition stands in relation to Québécois art historical doxa. Key words: Musée d’art contemporain de Montréal, Musée national des beaux-arts du Québec, Musée des beaux-arts de Montréal, exhibitional discourse, XXth-XXIrst centuries. iii Table des matières Résumé i Abstract ii Liste des figures vii Remerciements x 1. Introduction 1 2. Place à la magie! Les années 40, 50, et 60 au Québec, Musée d’art contemporain de Montréal 14 2.1 Introduction 14 2.2 Le contexte institutionnel 14 2.3. L’espace 15 2.4 Le contenu 19 2.5 Conclusion 36 3. Figuration et abstraction au Québec. 1940-1960, Musée national des beaux-arts du Québec 37 3.1 Introduction 37 3.2 Le contexte institutionnel 37 3.3 L’espace 39 3.4 Le contenu 46 3.5 Conclusion 58 4. Art contemporain (depuis 1945), Musée des beaux-arts de Montréal 61 4.1 Introduction 61 4.2 Le contexte institutionnel 61 4.3 L’espace 64 4.4 Le contenu 71 4.5 Conclusion 87 5. Conclusion 88 Bibliographie 93 Figures xii iv Annexes Crédits xxxiii 1. Place à la magie! Les années 40, 50 et 60 au Québec, Musée d’art contemporain de Montréal xxxiv 1.1. Sélection d’œuvres xxxiv 1.2. Texte dans l’exposition xliv 1.2.1. Introduction 1(citation de Refus global) xliv 1.2.2. Introduction 2 (signée Josée Belisle) xlv 1.2.3. Introduction 3 (contenu général) xlvi 1.2.4. Introduction 4 (la collection Borduas) xlviii 1.2.5. Titre à l’entrée de l’exposition temporaire de la collection permanente (salles 5 et 6) xlix 1.3. Récit de l’audio-guide en date d’octobre 2003 (13/63) l 1.3.1. Association des artistes non-figuratifs de Montréal l 1.3.2. Avant-garde li 1.3.3. Borduas, Cheminement bleu, 1955 lii 1.3.4. Borduas, extrait Refus Global, 1948 liii 1.3.5. Marcelle Ferron liv 1.3.6. Jauran, extrait du Manifeste des Plasticiens, 1955 lv 1.3.7. Rita Letendre lvi 1.3.8. John Lyman, Lake Massawipi, Québec, vers 1936 lvii 1.3.9. Alfred Pellan, Mascarade, 1944 lviii 1.3.10. Refus Global lix 1.3.11. Marian Scott lx 1.3.12. Francoise Sullivan lxi 1.3.13. Armand Vaillancourt, Justice aux Indiens d’Amérique, 1957 lxii 2. Figuration et abstraction au Québec, 1940-1960, Musée national des beaux-arts du Québec lxiii 2.1. Sélection d’œuvres lxiii 2.2. Cartels allongés (13/13 lxix v 2.2.1. Louis Belzile, s/t lxix 2.2.2. Paul-Émile Borduas, Les pylônes de la porte lxix 2.2.3. Jean Cartier, Plat lxix 2.2.4. Ulysse Comtois, Monarchie éventuelle lxix 2.2.5. Jean Dallaire, Julie lxix 2.2.6. Charles Daudelin, Nature morte lxx 2.2.7. Jacques De Tonnancour, Nu lxx 2.2.8. Marcelle Ferron, Retour d’Italie no 2 lxx 2.2.9. Suzanne Guité, Le chercheur d’espace lxx 2.2.10. Fernand Leduc, L’alpiniste lxxi 2.2.11. Guido Molinari, Angle rouge lxxi 2.2.12. Alfred Pellan, Conciliabule lxxi 2.2.13. Armand Vaillancourt, Sculpture II lxxi 2.3. Récit de l’audio-guide (6/6) lxxii 2.3.1. Paul-Émile Borduas, Les pylônes de la porte lxxii 2.3.2. Jean Dallaire, Coq licorne lxxiii 2.3.3. Julien Hébert, Chaise de jardin «Contour lxxiv 2.3.4. Alfred Pellan, Conciliabule lxxv 2.3.5. Robert Roussil, Mère et enfant lxxvi 2.3.6. Claude Tousignant, L’intrusion lxvii 2.4. Documents internes lxxviii 2.4.1. Bulletin : Figuration Et Abstraction Au Québec, 1940-1960 lxxviii 2.4.2. Figuration et abstraction au Québec, 1940-1960. Annexe 1 : description du projet lxxx 2.4.3. Figuration et abstraction au Québec, 1940-1960. Annexe 2 : une réalisation remarquable lxxxi 2.4.4. Figuration et abstraction au Québec, 1940-1960. Texte dans l’exposition : introduction lxxxiv 3. Art contemporain (après 1945), Musée des beaux-arts de Montréal lxxxviii 3.1. Sélection d’œuvres lxxxviii vi 3.2 Cartels allongés (4/4) xcvi 3.2.1 Jean-Paul Riopelle, Hommage à Grey Owl xcvi 3.2.2 Jean-Paul Riopelle, Vent traversier xcvii 3.2.3 Paul-Émile Borduas, Composition 44 xcviii 3.2.4 Guy Pellerin, L’assemblée xcix 3.3 Texte dans l’exposition : Introduction monographique : Paul-Émile Borduas ci vii Liste des figures * Bien que certaines photographies aient été prises en dehors du cadre temporel dans lequel s’inscrivent nos observations sur le terrain (2006-2008), nous n’avons choisi parmi celles-ci que celles illustrant un accrochage correspondant à celui indiqué dans les listes d’œuvres et plans de salles en annexe.
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