Javier Barón Thaidigsmann avec Christine Peltre

Javier Barón Thaidigsmann avec Christine Peltre

When Balthus’private archives were deposited at the Musée Cantonal des Beaux Arts in Lausanne, his atelier yielded a last mystery: a series of preparatory photographs that were used as sketches for a large landscape painted in the beginning of the 1940s, Le Gottéron. Five years after the discovery...

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Auteurs principaux: Thaidigsmann, Javier Barón, Peltre, Christine
Format: Article ou chapitre numérique
Sprog:Français
Udgivet: 2018
Online adgang:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RDA_202_0047
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spelling cairn-RDA_202_0047RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2018-4-page-47?lang=fr https://doi.org/10.3917/rda.202.0047 Javier Barón Thaidigsmann avec Christine Peltre Thaidigsmann, Javier BarónPeltre, Christine2018 fre Revue de l'art | 202 | 4 | 2018-12-26 | p. 47-54 | 0035-1326 RDA_20254 When Balthus’private archives were deposited at the Musée Cantonal des Beaux Arts in Lausanne, his atelier yielded a last mystery: a series of preparatory photographs that were used as sketches for a large landscape painted in the beginning of the 1940s, Le Gottéron. Five years after the discovery of the very numerous polaroids from his last years of creation, this new body leads to rethinking the rapports of the painter with photography. The camera visibly integrated the Balthusian palette well before the incapacity of the body to draw, which tends to challenge the commonly accepted assumption of its purely late and palliative use. Distant from the motif of the young girl associated with Balthus, these photographic notes also translate the importance of landscape in the work and its function as a formal laboratory. This article will thus deal with the twists and turns of the work focusing on an almost unknown medium and a less studied pictorial type. It opens a new analysis of the artist’s creative process, documented through numerous photographs and at the origin of a photographic esthetic. In 1943, the shooting device that will preside over the images of the 1990s is already in place.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description When Balthus’private archives were deposited at the Musée Cantonal des Beaux Arts in Lausanne, his atelier yielded a last mystery: a series of preparatory photographs that were used as sketches for a large landscape painted in the beginning of the 1940s, Le Gottéron. Five years after the discovery of the very numerous polaroids from his last years of creation, this new body leads to rethinking the rapports of the painter with photography. The camera visibly integrated the Balthusian palette well before the incapacity of the body to draw, which tends to challenge the commonly accepted assumption of its purely late and palliative use. Distant from the motif of the young girl associated with Balthus, these photographic notes also translate the importance of landscape in the work and its function as a formal laboratory. This article will thus deal with the twists and turns of the work focusing on an almost unknown medium and a less studied pictorial type. It opens a new analysis of the artist’s creative process, documented through numerous photographs and at the origin of a photographic esthetic. In 1943, the shooting device that will preside over the images of the 1990s is already in place.
author Thaidigsmann, Javier Barón
Peltre, Christine
spellingShingle Thaidigsmann, Javier Barón
Peltre, Christine
Javier Barón Thaidigsmann avec Christine Peltre
author_facet Thaidigsmann, Javier Barón
Peltre, Christine
author_sort Thaidigsmann, Javier Barón
title Javier Barón Thaidigsmann avec Christine Peltre
title_short Javier Barón Thaidigsmann avec Christine Peltre
title_full Javier Barón Thaidigsmann avec Christine Peltre
title_fullStr Javier Barón Thaidigsmann avec Christine Peltre
title_full_unstemmed Javier Barón Thaidigsmann avec Christine Peltre
title_sort javier barón thaidigsmann avec christine peltre
publishDate 2018
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2018-4-page-47?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.202.0047
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