Camille Mauclair (1872-1945) est l'un des auteurs qui comptent non seulement parmi les plus prolifiques mais aussi parmi les plus lus de son temps. S'il a su puiser dans toutes les occasions offertes par la Troisième République, investissant sa curiosité des débuts dans différents genres (roman, poésie, essai et critique), c'est toutefois en tant que critique d'art qu'il s'affirme professionnellement. Ce travail de recherche retrace le parcours professionnel et intellectuel de Mauclair, des années modernistes du symbolisme aux années de l'entre-deux-guerres et de l'Occupation, et explique à travers l'histoire des idées comment un auteur internationaliste a placé la question nationale au cœur de son débat et est progressivement devenu un pôle de conservatisme et de réaction. Sa perception d'un art national basé sur le XVIIIe siècle inaugure une histoire de l'art vulgarisatrice et nationaliste. La notion de crise devient pour lui une clé pour la compréhension du système de l'art qui l'entoure. La radicalisation de ses thèses l'amènera à une collaboration déterminante avec l'homme influent de l'extrême-droite François Coty et cette collaboration fera de Mauclair un pamphlétaire de l'art. Au début de la Deuxième Guerre mondiale, le critique adhère à la presse collaborationniste et ses choix réactionnaires et antisémites lui coûteront la postérité. / Camille Mauclair (1872-1945) was one of the most prolific and most read authors of his times. He used every opportunity offered to him by the Third Republic and he engaged his talents to many literary genres: fiction, poetry, essays, and critiques. However, he only established himself professionally as an art critic. This thesis traces the professional and intellectual itinerary of Camille Mauclair from his early preoccupation with the modernism of symbolism to his later reactionary period and seeks to explain how an initially internationalist author placed the national idea at the heart of his debate. His perception of national art as starting from the l8th century launches a popularizing and nationalist art history. He furthermore develops the notion of crisis in ail levels and he turns it into a key to the understanding of the system of modern art. The radicalization of his opinions leads to his collaboration with the powerful figure of extreme-right François Coty which will make him a profession al lampoonist. During the Second World War, Mauclair joins the collaborationist press and his reactionary and anti-Semitic opinions will ruin his posthumous fate.

Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-03Bitstream added on 2014-06-13T20:34:21Z : No. of bitstreams: 1 muneratto_bg_me_assis.pdf: 1959753 bytes, checksum: 9532fb758364041e9a284b2637cac21d (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este trabalho aborda o diálogo entre o crítico de arte Mário Pedrosa e o escultor estadunidense Alexander Calder enquanto fonte de informações estéticas para artistas do chamado projeto construtivo brasileiro. A postura de Pedrosa como organizador da cultura ganhou outro patamar quando ele inicia um programa em defesa da inserção da arte abstrata na lógica artística nacional. Isso só foi possível ao crítico a partir de seu contato com a obra de Alexander Calder que, por sua vez, inaugurou uma estética inovadora na escultura. Unindo postulados da engenharia mecânica e sua grande inspiração circense, Calder deu origem a obras de natureza móvel: os móbiles e com eles reformulou o próprio conceito de escultura. Essas novas possibilidades plásticas apontadas por Calder foram responsáveis por muitas das inovações artísticas no Brasil, pois elas trouxeram a Pedrosa um expressivo alargamento de horizontes para com o fenômeno artístico, sendo desencadeador direto de sua ação como crítico e mentor de uma geração de jovens e brilhantes artistas do Neoconcretismo / Our work treats the dialogue between the art critic Mário Pedrosa and the north-American sculptor Alexander Calder while source of esthetic information to artist of the Brazilian constructive project. Mário Pedrosa‟s as culture organizer gain another level when he starts a program in defense of abstract art and its insertion in the Brazilian‟s artistic logic. This was possible to the critic only after his contact with Alexander Calder‟s workmanship that, by his turn, started a pioneer esthetic in sculpture. Joining postulates of mechanics engineering and his great inspiration on circus, Calder gave origin of mobiles sculptures and it reformulates the concepts of sculpture. These new possibilities pointed by Calder was responsible for many of the artistic innovations in Brazil, because they brought to Pedrosa a expressive widening of horizons with the artistic phenomenon, being directly responsible by his action wile critic and mentor of the brilliant and young artists generation of Neoconcretism

A tese discute a atuação de Arthur Azevedo como crítico de arte e colecionador no circuito artístico do Rio de Janeiro entre os anos 1870 até os primeiros anos do século XX. A partir de um levantamento de textos esparsos sobre arte escritos pelo autor na imprensa carioca esforça-se por analisar e situar sua produção crítica frente à arte brasileira da segunda metade do século XIX. Concomitantemente busca-se analisar o conjunto de obras (gravuras, pinturas, livros, álbuns e manuscritos) reunidas pelo dramaturgo nesse mesmo período. Frente a essas duas extensas atuações desenvolve-se como tese central a ideia de que a dupla atuação de Arthur Azevedo somente foi possível, por ser aquele um período de reestruturação do meio artístico permitindo que intelectuais como ele, sem formação na área, pudessem atuar como crítico e colecionador. / This thesis discusses Arthur Azevedo\'s acting as an art critic and collector in the circuit of art in Rio de Janeiro from the 1870\'s until the early years of the Twentieth Century. According to a survey of scattered texts of art written by the author in the \"carioca\" press, he strives to analyze and situate his critical production within the Brazilian art of the second half of the Nineteenth Century. At the same time, it is sought to analyze the set of works (prints, painting, books, albums and manuscripts) gathered by the playwright in this same period. With respect to these two extended performances, it is developed as a central thesis the idea that Arthur Azevedo\'s dual acting was only possible because that period was the restructuring of the artistic movement. Thus, enabling that intellectuals like him could act as critics and collectors without professional training.

O objetivo deste trabalho é analisar o modelo interpretativo de Sergio Milliet a respeito da arte moderna e, a partir dele, demonstrar como emerge, de sua teoria da marginalidade, a idéia de morte da arte moderna. Procuraremos circunscrever este problema no ano de 1942, provocando o diálogo entre Milliet e os outros discursos críticos contemporâneos a ele. Por meio dos cruzamentos reflexivos que se estabelecem neste ano, operaremos um trabalho de desmontagem e montagem dos discursos a fim de formar o entroncamento de 1942. Os resultados deste trabalho serão extraídos em função dos efeitos criados pela lógica argumentativa de Milliet, suas bases epistemológicas e pelos contatos entre os diversos textos que se encontraram ao longo do estudo. / The objective of this work is to analyze the interpretative model of Sergio Milliet about modern art and, from it, demonstrate how it emerges, from his marginality theory to the idea of the modern art death. We will try to circumscribe this problem in the year of 1942, provoking the critical dialogue between Milliet and the others contemporary speeches to him. Through the reflective crossings that were established in this year, we will operate a work of dismounting and mounting of speeches in order to form a confluence point of 1942. The results of this work will be extracted in function of the effect created by the logic arguing of Milliet, its epistemologic bases and by the contacts among several texts found throughout the study.

Orientador: Carlos Eduardo Jordão Machado / Banca: Francisco Cabral Alambert Júnior / Banca: Gustavo Henrique Dionisio / Resumo: Este trabalho aborda o diálogo entre o crítico de arte Mário Pedrosa e o escultor estadunidense Alexander Calder enquanto fonte de informações estéticas para artistas do chamado projeto construtivo brasileiro. A postura de Pedrosa como organizador da cultura ganhou outro patamar quando ele inicia um programa em defesa da inserção da arte abstrata na lógica artística nacional. Isso só foi possível ao crítico a partir de seu contato com a obra de Alexander Calder que, por sua vez, inaugurou uma estética inovadora na escultura. Unindo postulados da engenharia mecânica e sua grande inspiração circense, Calder deu origem a obras de natureza móvel: os móbiles e com eles reformulou o próprio conceito de escultura. Essas novas possibilidades plásticas apontadas por Calder foram responsáveis por muitas das inovações artísticas no Brasil, pois elas trouxeram a Pedrosa um expressivo alargamento de horizontes para com o fenômeno artístico, sendo desencadeador direto de sua ação como crítico e mentor de uma geração de jovens e brilhantes artistas do Neoconcretismo / Abstract: Our work treats the dialogue between the art critic Mário Pedrosa and the north-American sculptor Alexander Calder while source of esthetic information to artist of the Brazilian constructive project. Mário Pedrosa‟s as culture organizer gain another level when he starts a program in defense of abstract art and its insertion in the Brazilian‟s artistic logic. This was possible to the critic only after his contact with Alexander Calder‟s workmanship that, by his turn, started a pioneer esthetic in sculpture. Joining postulates of mechanics engineering and his great inspiration on circus, Calder gave origin of mobiles sculptures and it reformulates the concepts of sculpture. These new possibilities pointed by Calder was responsible for many of the artistic innovations in Brazil, because they brought to Pedrosa a expressive widening of horizons with the artistic phenomenon, being directly responsible by his action wile critic and mentor of the brilliant and young artists generation of Neoconcretism / Mestre

Le 29 janvier 1906, un groupe d’artistes et de collectionneurs créent au Havre le Cercle de l’art moderne. Parmi eux : les peintres Georges Braque, Raoul Dufy et Émile Othon Friesz, l’architecte Édouard Choupaÿ, le critique littéraire G. Jean-Aubry et quelques-uns des plus importants amateurs d’art de ce début de siècle : Olivier Senn, Charles-Auguste Marande, Pieter van der Velde, Georges Dussueil… L’association se fixe comme objectif de promouvoir l’art moderne dans toute sa diversité, organisant des expositions, des conférences et des concerts de musique. Monet, Renoir, Signac mais surtout les fauves, Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck exposent leurs créations les plus récentes tandis que Debussy, Ravel et Roussel interprètent leurs compositions les plus originales. Frantz Jourdain et Guillaume Apollinaire apportent leur parrainage à l’association, qui affiche d’emblée sa filiation avec le Salon des XX à Bruxelles et le jeune Salon d’Automne à Paris. Le succès est retentissant, dépassant largement les frontières de la Ville. Cette thèse se propose de montrer combien ces années ont été cruciales pour Le Havre qui voit se créer un véritable marché de l’art fauve avec ses marchands, ses critiques d’art et ses amateurs. Le Cercle de l’art moderne a définitivement infléchi la politique artistique havraise vers une ouverture à l’art contemporain, plaçant la ville au rang de capitale culturelle de l’art moderne, dans une relation directe avec Paris et Bruxelles. / On the 29th of January 1906, a group of artists and collectors created the “Circle of Modern Art” in Le Havre. Among them were painters Georges Braque, Raoul Dufy and Émile Othon Friesz, the architect Édouard Choupaÿ, the art critic G. Jean-Aubry and some of the most important collectors of that time: Olivier Senn, Charles -Auguste Marande, Pieter van der Velde, Georges Dussueil and many others. The association's goal was to promote all aspects of Modern Art, organised many activities such as exhibits, conferences, concerts and so on. Monet, Renoir, Signac and especially the French “Fauves”—Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck—exhibited their most recent creations while Debussy, Ravel and Roussel performed their most recent original compositions. Frantz Jourdain and Guillaume Apollinaire supported the association, which early on showed its affiliation with the Salon des XX in Brussels and the young Salon d'Automne in Paris. It was a great success in Le Havre and throughout France and Europe, resounding far beyond the city's borders. This study goes back to those crucial years in Le Havre and focuses on that very special time that saw the creation of a real art market devoted to the “Fauve” painters, with its art dealers, critics and collectors. The “Circle of Modern Art” definitely influenced the artistic policy of Le Havre, opening it up to contemporary art and ranking the city as a cultural Capital of Modern Art, directly in conjunction with Paris and Brussels.

A tese discute a atuação de Arthur Azevedo como crítico de arte e colecionador no circuito artístico do Rio de Janeiro entre os anos 1870 até os primeiros anos do século XX. A partir de um levantamento de textos esparsos sobre arte escritos pelo autor na imprensa carioca esforça-se por analisar e situar sua produção crítica frente à arte brasileira da segunda metade do século XIX. Concomitantemente busca-se analisar o conjunto de obras (gravuras, pinturas, livros, álbuns e manuscritos) reunidas pelo dramaturgo nesse mesmo período. Frente a essas duas extensas atuações desenvolve-se como tese central a ideia de que a dupla atuação de Arthur Azevedo somente foi possível, por ser aquele um período de reestruturação do meio artístico permitindo que intelectuais como ele, sem formação na área, pudessem atuar como crítico e colecionador. / This thesis discusses Arthur Azevedo\'s acting as an art critic and collector in the circuit of art in Rio de Janeiro from the 1870\'s until the early years of the Twentieth Century. According to a survey of scattered texts of art written by the author in the \"carioca\" press, he strives to analyze and situate his critical production within the Brazilian art of the second half of the Nineteenth Century. At the same time, it is sought to analyze the set of works (prints, painting, books, albums and manuscripts) gathered by the playwright in this same period. With respect to these two extended performances, it is developed as a central thesis the idea that Arthur Azevedo\'s dual acting was only possible because that period was the restructuring of the artistic movement. Thus, enabling that intellectuals like him could act as critics and collectors without professional training.

O objetivo deste trabalho é analisar o modelo interpretativo de Sergio Milliet a respeito da arte moderna e, a partir dele, demonstrar como emerge, de sua teoria da marginalidade, a idéia de morte da arte moderna. Procuraremos circunscrever este problema no ano de 1942, provocando o diálogo entre Milliet e os outros discursos críticos contemporâneos a ele. Por meio dos cruzamentos reflexivos que se estabelecem neste ano, operaremos um trabalho de desmontagem e montagem dos discursos a fim de formar o entroncamento de 1942. Os resultados deste trabalho serão extraídos em função dos efeitos criados pela lógica argumentativa de Milliet, suas bases epistemológicas e pelos contatos entre os diversos textos que se encontraram ao longo do estudo. / The objective of this work is to analyze the interpretative model of Sergio Milliet about modern art and, from it, demonstrate how it emerges, from his marginality theory to the idea of the modern art death. We will try to circumscribe this problem in the year of 1942, provoking the critical dialogue between Milliet and the others contemporary speeches to him. Through the reflective crossings that were established in this year, we will operate a work of dismounting and mounting of speeches in order to form a confluence point of 1942. The results of this work will be extracted in function of the effect created by the logic arguing of Milliet, its epistemologic bases and by the contacts among several texts found throughout the study.

Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographique. / In the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image.

Este estudo se propõe a analisar o LongPlay (LP) que consolidou o músico e compositor Milton Nascimento como sucesso tanto de crítica quanto de público: o álbum Minas (EMI-Odeon, 1975). Por razões estruturais, essencialmente musicais e poéticas, o LP Minas é inseparável do próximo disco na carreira do artista, o LP Geraes (EMI-Odeon, 1976). Juntos, eles formam um curioso \"álbum- duplo\", cuja estrutura fundamental - como é demonstrada ao longo da pesquisa - consiste em uma tentativa de união entre estruturas estético-sociais de matrizes diversas, em geral, opostas. Uma vez explicitada a lógica ou o princípio estético que organiza esse conjunto de canções, ou seja, a busca pelo consenso, investiga-se o material histórico condensado nos fonogramas. De acordo com a narrativa que se estabelece no transcorrer das faixas, chega-se à constatação de que um possível significado para a obra é a defesa de uma \"modernidade não tão moderna\". Por apresentarem diversas referências, por vezes explícitas, à história nacional, conclui-se que esse período em questão corresponde ao início do processo de industrialização brasileiro. / This study aims to analyze the LongPlay (LP) that consolidated the musician and composer Milton Nascimento as a successfull artist, both of critical and sales: the album Minas (EMI-Odeon, 1975). For structural reasons, essentially musical and poetic, the LP Minas is inseparable of his next album, the LP Geraes (EMI-Odeon, 1976). Together they compose a curious case of a \"double-album,\" whose fundamental structure - as demonstrated throughout this research - is an attempt to put together social and aesthetic structures of different sources. Once the logic or the aesthetic principle, that organizes this set of songs is settled, in other words, the seek for consensus, then, the historical material condensed in the phonograms is investigated. According to the narrative that is established in the course of the tracks, it is verified that a possible meaning for this work of art is the defense of a \"not so modern modernity\". By presenting several references, sometimes explicit, to national history, it is concluded that the mentioned period corresponds to the beginning of the process of Brazilian industrialization.