Anne McCauley avec Michel Poivert

Anne McCauley avec Michel Poivert

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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Autors principals: McCauley, Anne, Poivert, Michel, Bouniort, Jeanne
Format: Article ou chapitre numérique
Idioma:Français
Publicat: 2018
Accés en línia:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_202_0055RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2018-4-page-55?lang=fr https://doi.org/10.3917/rda.202.0055 Anne McCauley avec Michel Poivert McCauley, AnnePoivert, MichelBouniort, Jeanne2018 fre Revue de l'art | 202 | 4 | 2018-12-26 | p. 55-60 | 0035-1326 RDA_20255 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 McCauley, Anne
Poivert, Michel
Bouniort, Jeanne
spellingShingle McCauley, Anne
Poivert, Michel
Bouniort, Jeanne
Anne McCauley avec Michel Poivert
author_facet McCauley, Anne
Poivert, Michel
Bouniort, Jeanne
author_sort McCauley, Anne
title Anne McCauley avec Michel Poivert
title_short Anne McCauley avec Michel Poivert
title_full Anne McCauley avec Michel Poivert
title_fullStr Anne McCauley avec Michel Poivert
title_full_unstemmed Anne McCauley avec Michel Poivert
title_sort anne mccauley avec michel poivert
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-55?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.202.0055
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