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Si la peinture abstraite n’a pas bien sûr fait mourir la peinture figurative qui existe après elle, si elle n’a pas supprimé le paysage pictural, quel peut bien être le sens, la nature et la portée, au sein de la peinture contemporaine elle-même, du paysage abstrait ? Quelles en sont les conditions de possibilité ? A quelles conditions un paysage abstrait est-il possible, c’est à dire réalisable pour le peintre et pensable pour l’historien et le théoricien de l’art ? Telles sont les questions rectrices de cette thèse qui entend déployer et explorer le paradoxe d’un paysage séparé — ce qui est bien le sens strict d’abstrait — de l’exigence de représentation mimétique d’un espace naturel ou urbain extérieur « d’un lieu assez élevé, où tous les objets auparavant dispersés se rassemblent sous un seul coup d’oeil » selon l’expression de Fénelon. Ce déploiement et cette exploration s’effectue sur les deux exemples des oeuvres de Cy Twombly et Gerhard Richter interprétées comme deux modalités différentes d’une relève du paysage, dépassant et conservant à la fois ce dernier sur le mode de l’évocation : par un langage purement pictural, par le langage des titres et des mots dans la peinture pour Twombly, par la photographie et la photo-peinture pour Richter. A cet égard, Twombly et Richter tentent tous les deux de mettre en oeuvre aux deux sens duterme, une rupture et une continuité : entre la forme du genre paysage et l’expérience paysagère au sein de l’espace de la galerie d’exposition, entre la tradition du paysage occidental (Poussin, Turner, Friedrich) et la peinture des peintres américains contemporains (Pollock, Rothko et Rauschenberg), entre la peinture et les autres média ou les autres arts auxquels elle se confronte (la poésie pour Twombly, la photographie et la littérature pour Richter). La thèse est donc construite comme un ensemble de croisements qui rend possible le paysage abstrait renouvelant le genre du paysage, lelibérant de ses règles traditionnelles et, ainsi, l’ouvrant à des formes inédites et étonnantes. / If abstraction did not kill landscape painting, how would the pictorial genre survive within the context of contemporary painting? What would be the meaning of the term abstract landscape? Under which circumstances and conditions would an abstract landscape be possible? This research tries to address these questions by investigating the paradox of a landscape which does not represent mimetically space seen from a higher point at a glance, as Fénelon would put it.The works of Cy Twombly and Gerhard Richter are used as means for this exploration since they present two different modalities of a landscape which overcomes and preserves itself at the same time. In this respect, both Twombly and Richter attempt to implement rupture and continuity: between landscape form and landscape experience within the gallery space, between western landscape tradition (Poussin, Turner, Friedrich) and contemporary American painting (Pollock,Rothko and Rauschenberg), between painting and other media or arts (poetry for Twombly, photography and literature for Richter). This way, this study is constructed by a set of contradictions which make abstract landscape possible. This abstract landscape renews landscape genre, frees it from its traditional rules and opens it to new and surprising forms

This dissertation investigates the question of transcendence and its relevance to my picture-making . process. The term 'transcendence' refers to any experience which surpasses the finite. In relation to the art-making process it refers to an opening up of the frame. Transcendence is not regarded as a fixed and unalterable state but as such that it encompasses paradox. The fragmentary nature of experience and" knowledge provides the point of departure for this investigation. The possibility of transcendence is partly explored through the concept of symbolic orders. I am using the term 'symbolic orders' to refer to any frameworks which shape human experience in general and the creative process specifically. Upon exploring the concept of transcendence as concerns the work of a number of artists and insofar as it has informed my own pictures it appears that there is a creative system pertaining to the artwork which is transcendent. / Art History, Visual Arts & Musicology / M.A. (Fine Arts)

This dissertation investigates the question of transcendence and its relevance to my picture-making . process. The term 'transcendence' refers to any experience which surpasses the finite. In relation to the art-making process it refers to an opening up of the frame. Transcendence is not regarded as a fixed and unalterable state but as such that it encompasses paradox. The fragmentary nature of experience and" knowledge provides the point of departure for this investigation. The possibility of transcendence is partly explored through the concept of symbolic orders. I am using the term 'symbolic orders' to refer to any frameworks which shape human experience in general and the creative process specifically. Upon exploring the concept of transcendence as concerns the work of a number of artists and insofar as it has informed my own pictures it appears that there is a creative system pertaining to the artwork which is transcendent. / Art History, Visual Arts and Musicology / M.A. (Fine Arts)