xi, 106 p. / Raoul Dufy created woodcut illustrations for a book of poetry by Guillaume Apollinaire entitled, Le Bestiaire, au, Le Cortege d'Orphee, in 1910. Shortly thereafter, radical haute couture leader, Paul Poiret, commissioned Dufy to carve woodcuts to be printed onto fabric and used in Poiret's fashion designs. The goal of this thesis is twofold; to show how the nineteenth-century woodcut revival provided Dufy with a medium that simultaneously suggests popular French tradition and contemporary avant-garde culture and to reveal how Dufy's early employment of the woodcut led to a lifetime involvement with the decorative arts that both contributed to his success and style as a painter. These involvements mark a highpoint in the way the woodcut, which had fallen into artistic disfavor during most of the nineteenth-century, was returned by Dufy to the center of avant-garde culture and fashion. / Adviser: Sherwin Simmons

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Cette thèse ambitionne de définir le rôle de la marchande d’art Berthe Weill dans l’avènement de l’art moderne. À l’origine du baptême d’un nombre considérable d’artistes plus tard couronnés par le marché, son patrimoine demeure méconnu et en grande partie oublié. Occupant à la fois un statut de mécène et de découvreuse, de médiatrice et d’éditrice, elle initia à l’ouverture de son commerce en 1901 une impulsion vers la jeune peinture alors encore dépourvue de représentant. Pionnière féministe, elle usa des moyens de communication à sa disposition pour diffuser ses opinions, osant un usage véritablement politique de ses cimaises et de ses colonnes. Cette étude vise à mieux appréhender sa position dans la hiérarchie du marché de l’art moderne, en observant le contexte sociétal qui encouragea et brida ses initiatives. En quarante ans de carrière, cette femme issue d’une famille juive pauvre traversa les deux guerres mondiales, en s’imposant comme une personnalité incontournable de la vie culturelle parisienne. Sans fonds préexistant auquel se référer, des archives relatives à la Galerie B.Weill ont été entièrement reconstituées, permettant un premier bilan validant son rôle de pivot dans la carrière d’artistes majeurs de la première moitié du XXe siècle. A travers le truchement de ces archives sont soulevées des problématiques plus larges liées à la discipline de la recherche de provenance : sur les questions d’authentification, mais aussi sur les spoliations antisémites durant l’Occupation et la difficulté d’accès aux données marchandes malgré les mesures légales en place pour garantir la probité du patrimoine. / The ambition of this thesis is to define the role of the art merchant Bethe Weill, in the birth of modern art. Behind the discovery of a considerable number of artists who were later crowned with success by the market, her legacy remains misunderstood and mostly forgotten. In her multiple roles as sponsor and discoverer, mediator and editor, she initiated, with the opening of her gallery in 1901, a drive toward new painting, a movement until then bereft of a spokesperson. A feminist pioneer, she used all the means of communication at her disposal to disseminate her opinions, daring to make her gallery walls and columns a site for political statements. This study hopes to elucidate her position in the hierarchy of the modern art market, looking at the societal context which encouraged or restrained her initiatives. In a career spanning forty years, this woman from a poor Jewish family lived through two world wars and established herself as a major figure in Parisian cultural life. Without a pre-existent archival foundation to which one might refer, the archives relating to the B. Weill Gallery had to be entirely reconstructed, giving initial results which validate her pivotal role in the careers of major artists of the first half of the twentieth century. Through the intermediary of these archives larger issues are raised in connection to research on provenance: questions of authentication, but also on Anti-Semitic spoliations during the Occupation and the difficulty of access to market data in spite of the legal measures in place to guarantee patrimonial probity.