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Peindre La Montagne En Grande-Bretagne (1747-1867) Cybill Whalley

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Peindre La Montagne En Grande-Bretagne (1747-1867) Cybill Whalley Des ténèbres à la gloire : peindre la montagne en Grande-Bretagne (1747-1867) Cybill Whalley To cite this version: Cybill Whalley. Des ténèbres à la gloire : peindre la montagne en Grande-Bretagne (1747-1867). Histoire. Université Panthéon-Sorbonne - Paris I, 2018. Français. NNT : 2018PA01H323. tel- 02143076 HAL Id: tel-02143076 https://tel.archives-ouvertes.fr/tel-02143076 Submitted on 29 May 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE PARIS I PANTHÉON SORBONNE UFR d’HISTOIRE DE L’ART Laboratoire de rattachement : (ED441) HICSA THÈSE Pour l’obtention du titre de Docteur en HISTOIRE DE L’ART Présenté(e) et soutenu(e) publiquement le 22 NOVEMBRE 2018 par Cybill WHALLEY Des Ténèbres à la Gloire : Peindre la montagne en Grande-Bretagne (1747-1867) Volume I Sous la direction de M. Pierre WAT Professeur Membre du Jury Mme. Claire Barbillon, professeur, Université de Poitiers et directrice de l’École du Louvre M. Guillaume Faroult, conservateur au musée du Louvre, peintures françaises XVIIIe siècle, peintures britanniques et américaines M. François-René Martin, professeur (H.D.R.) et directeur de recherche à l’ÉNSBA M. Emmanuel Pernoud, professeur, Université Paris 1 Panthéon-Sorbonne M. Pierre Wat, professeur, Université Paris 1 Panthéon- Sorbonne 1 UNIVERSITE PARIS I PANTHÉON SORBONNE UFR d’HISTOIRE DE L’ART Laboratoire de rattachement : (ED441) HICSA THÈSE Pour l’obtention du titre de Docteur en HISTOIRE DE L’ART Présenté(e) et soutenu(e) publiquement le 22 NOVEMBRE 2018 par Cybill WHALLEY Des Ténèbres à la Gloire : Peindre la montagne en Grande-Bretagne (1747-1867) Volume I Sous la direction de M. Pierre Wat Professeur Membre du Jury Mme. Claire Barbillon, professeur, Université de Poitiers et directrice de l’École du Louvre M. Guillaume Faroult, conservateur au musée du Louvre, peintures françaises XVIIIe siècle, peintures britanniques et américaines M. François-René Martin, professeur (H.D.R.) et directeur de recherche à l’ÉNSBA M. Emmanuel Pernoud, professeur, Université Paris 1 Panthéon-Sorbonne M. Pierre Wat, professeur, Université Paris 1 Panthéon- Sorbonne 2 Résumé Jusqu’à la seconde moitié du XVIIIe siècle, les territoires montagneux de Grande-Bretagne sont inconnus pour la majorité de la population. Pourtant, les territoires du Lake District en Angleterre, du Snowdonia au pays du Galles et des Highlands d’Écosse font partie de l’essor de la peinture de paysage en Grande- Bretagne entre les XVIIIe et XIXe siècles. L’observation des artistes portée aux montagnes du nord profite à l’imagination à travers deux notions majeures : la beauté pittoresque et le sublime. En effet, la promenade dans le jardin anglais s’ouvre au Home Tour en terres montagneuses. D’une immensité suscitant la terreur en souvenir du Déluge, la montagne en tant que symbole de l’insularité fait appel au réenchantement grâce au travail des artistes, des poètes et des voyageurs. Les aquarellistes observent les montagnes britanniques et font de ces territoires des ateliers en plein air. Cependant les vues héritées de la topographie poussent à une reconstruction de la composition où les montagnes deviennent de plus en plus présentes dans les arts visuels jusqu’à engendrer un chaos synonyme de l’union romantique. Depuis la fin du XVIIIe siècle, les territoires montagneux de Grande- Bretagne nourrissent le mythe du caractère britannique (Britishness). Les montagnes deviennent ainsi le symbole de l’origine développé en parallèle de la modernité industrielle. La pacification des Highlands à partir de 1747 encourage l’étude des vestiges du passé où les montagnes sont les ruines naturelles. Cette recherche de l’origine incite aussi à partir des années 1820-1830 le développement des identités nationales en Écosse et au pays de Galles au sein de la Grande- Bretagne. Ces identités tentent de mettre fin à l’anglicisation en revendiquant leurs spécificités culturelles et se réapproprient la montagne en tant que symbole national. Summary Mountain gloom, mountain glory: Mountain landscape paintings from Great- Britain (1747-1867) Until the 18th century, mountainous scenery in Britain was unknown to most of the inhabitants, and it was regarded as wild and gloomy. However, places such as the English Lake District, the Welsh Snowdonia and the Scottish Highlands were instrumental in the development of the art of landscape painting in Britain between the 18th and 19th centuries. Artists’ observation of the northern mountains captured the imagination through two major notions: the picturesque beauty and the sublime. Indeed, walking in English gardens lead to the Home Tour in mountainous lands. From a gloomy natural form following the Flood, the mountain became a symbol of insularity. This called for a re-enchantment through paintings and poetry, and then the mountain was allowed its glory. Watercolourists drew the mountains from Britain and turned them into a studio en plein-air. Thus, topography views led to a new artistic composition, where mountains became more and more painted in visual arts until the creation of a chaos synonymous with Romanticism. In the second half of the 18th century, these mountainous territories took part in the myth of Britishness. They became a symbol of origin, developing along with industrial modernity. The pacification of the Highlands from 1747 encouraged studies on the primitive past, where the northern mountains were natural ruins. In 1820-1830, the 3 quest for origin also implemented the rise of national identities in Scotland and Wales upon British soil. These identities attempted to put an end to Anglicisation by claiming their own cultural specificities and reclaiming the mountain as their national symbol. Mots-clés montagnes– Lake District – pays de Galles – Écosse identité nationale – pittoresque – sublime – Home Tour– observation aquarelle – barde –topographie–divin–primitivisme Keywords mountains – Lake District – Wales – Scotland national identity – picturesque – sublime – Home Tour–observation watercolour – bard – divine – primitivism 4 REMERCIEMENTS À l’issue de ce travail, je tiens d’abord à remercier M. le Professeur Pierre Wat qui a accepté de diriger ma thèse. Il m’a permis de mener à bien mon projet de recherche et ce travail sur la peinture en Grande-Bretagne n’aurait pas pu aboutir sans son accompagnement. Mes remercierments vont à Mr John Morrison, Professeur d’histoire de l’art qui m’a fait confiance et m’a acceuillie pendant quelques mois à l’Université d’Aberdeen en Écosse où j’ai pu continuer mon travail. Mr Peter Lord, historien d’art, qui m’a reçue chez lui à Cwm Rheidol, au pays de Galles, et a su répondre à mes interrogations en me faisant partager sa passion. Je remercie chaleureusement Mme Annie Dubernard-Laurent qui a pris le temps de lire et qui m’a apportée son aide pour les traductions, Emmanuelle Guitard qui avec bienveillance a su me conseiller et apporter ses observations, et M. François Purtschet pour sa curiosité. Bien sûr, je remercie Annie et Reginald pour leur patience et leur soutien. Enfin, mes pensées vont à P.H. Tharel et J.T. Whalley. 5 AVERTISSEMENTS La mention des traducteurs se situe en bibliographie. Concernant les traductions que j’ai effectuées, la source originale est citée en note de bas de page. Pour certaines traductions, ne disposant pas de traductions contemporaines, j’ai décidé de conserver la traduction française de l’époque et de placer la version originale en note. Pour les ouvrages de William Gilpin qui ne bénéficient pas d’une traduction contemporaine, j’ai préféré travailler à partir des versions originales en anglais. Je cite cependant ses ouvrages traduits en français en bibliographie. Trois cartes générales du Lake District, des Highlands et du pays de Galles sont disponibles dans le volume II. Enfin, les noms géographiques diffèrent parfois dans les titres des œuvres. 6 SOMMAIRE INTRODUCTION 13 PREMIÈRE PARTIE : LA DÉCOUVERTE DES TERRITOIRES MONTAGNEUX 35 I. : LES MONTAGNES DE GRANDE-BRETAGNE ET L’ART DES JARDINS EN ANGLETERRE 36 A. La formation du jardin naturel 38 a. L’exemple des jardins de Stowe 38 b. La montagne et le jardin, une association d’idées 43 c. La montagne, une forme locale 46 B. Le nouveau jardin anglais, le Westmorland et Cumberland 49 a. L’héritage des maîtres 49 b. La beauté, l’horreur et l’immensité unifiées 53 c. Thomas Gray et sa visite des Lacs 57 C. Les limites du jardin en Grande-Bretagne 59 a. Les stations de Thomas West 60 b. Richard Wilson et le nouveau canon 63 c. Le paysage des Lowlands : les chutes de la Clyde 69 II. : LES MONTAGNES DE GRANDE-BRETAGNE ET LA BEAUTÉ PITTORESQUE 74 A. La délimitation des territoires montagneux insulaires dans les Observations pittoresques de William Gilpin 75 a. Les observations du pays du Galles : de la rivière Wye au Snowdonia 77 b. Le Westmorland et Cumberland : l’entrée de la montagne dans la composition 82 c. Les Highlands, l’absence du pittoresque ? 85 B. Le Beau pittoresque 90 a. La composition pittoresque 92 b. Le voyage pittoresque 97 c. L’art de faire des esquisses 100 C. La beauté pittoresque ou le « Grand Style » du paysage : 104 7 a. La forme centrale 105 b. Uvedale Price et Richard Payne Knight 111 c. Hafod (1786-1816) 116 III. LES MONTAGNES SUBLIMES 121 A. Les montagnes : les reliefs du Déluge 122 a. Les controverses du Déluge 122 b. Thomas Burnet et la Théorie Sacrée 125 c.
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