Texte remanié de: Dissertation--Münster, 1999. / Contient des résumés en anglais et en français. Notes bibliogr.

Cette étude veut contribuer à soutenir la thèse que les relations de Rodin avec la Russie sont de nature diverse. Elle se compose de quatre parties. La première est consacrée à la perception de l’œuvre de Rodin par les Russes. Nous étudions les relations du sculpteur avec les collectionneurs russes, et les amateurs d’art, sa participation aux manifestations artistiques en Russie et sa fortune critique en Russie. Le sujet auquel est consacrée la deuxième partie de cette thèse est celui des Russes qui ont « touché » à la création de l’œuvre de Rodin (en premier lieu des praticiens et des élèves de Rodin, mais aussi des modèles et photographes). La troisième partie est consacrée au regard de Rodin sur la Russie. La quatrième partie porte sur deux relations artistiques du sculpteur – avec Nijinski et Goloubew. / This study aims at supporting the thesis that Rodin's relations with Russia are in fact quite diverse. The manuscript consists of four parts. The first part is devoted to the perception of Rodin's work by the Russians. We study his relations with Russian art collectors, art amateurs, his participation in artistic events in Russia and his critical fortune in Russia. The second part deals with the Russians who contributed to Rodin's work (most notably, “praticiens” and pupils of Rodin, but also models and photographers). In the third part, we discuss Rodin's view on Russia. We find out how Russia becomes part of Rodin's life. The fourth part describes two artistic relations of Rodin, namely with Nijinski and Goloubew.

O projeto de pesquisa analisa os rumos do pensamento escultórico moderno em direção a uma escala ambiental, processo que tem origem no final do séc. XIX, momento em que a obra A Porta do Inferno, de Auguste Rodin, modifica o espaço narrativo clássico, rompendo com a premissa do monumento e passando a pleitear cada vez mais uma imersão da obra no espaço do observador. O período das vanguardas históricas também foi fundamental para se repensar as fronteiras entre as linguagens tradicionais e o reconhecimento de outras esferas que não a das belas-artes, desde a dissolução da base na escultura de Constantin Brancusi, passando pela renovação do estatuto de arte em Marcel Duchamp, até as experiências de colagem com a obra Merzbau, de Kurt Schwitters. A dissertação examina especialmente a produção que desde então problematizou a tradição da escultura, privilegiando as manifestações contemporâneas que derivam da tradição moderna, projetando o campo da arte para além dos gêneros artísticos fixados até então, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Entre as décadas de 1940 e 1960, a ruptura com essa tradição culmina na radicalidade das ações corporais de Jackson Pollock, que conferem uma nova escala às pinturas; e, mais à frente, numa produção que emergia como crítica aguda ao mercado e à institucionalização cada vez mais precoce do trabalho de arte. A arte contemporânea, então, teria sua origem num processo de crítica do objeto, precipitado pelo problemas da cultura de massa, onde os trabalhos se reconhecem num mundo da cultura, mesmo ao resistirem a sua cooptação. Sem ter sido objeto de análises abrangentes, a escultura contemporânea, se é que ainda podemos denominar escultura os trabalhos produzidos a partir da década de 1960, parece ter colocado em crise a noção moderna de forma, e passa a operar num contexto ampliado, aberta ao espaço e à dinâmica cultural urbana. É nesse momento que a dissertação se aproxima das obras de Richard Serra, José Resende e Hélio Oiticica e passa a dedicar uma análise mais atenta sobre aqueles trabalhos que lidaram com uma escala ambiental, ou ainda, se aproximaram das contingências do lugar onde atuam, quer físicas, sociais ou culturais, operando próximos à poética do site specificity. / The research project analyses the directions of the modern sculptural thoughts towards an environmental scale, a process that begins in the end of the 19th Century, a moment in which Auguste Rodins The Gates of Hell modifies the classic narrative space breaking up with the premise of the monument and defend every time more an immersion of the work in the observer space. The historical vanguard period was also fundamental to rethink the boundaries between the traditional languages and the recognition of spheres that are not of fine arts ñ from the dissolution of the base in sculpture of Constantin Brancusi, passing through the renovation of the art statute of Marcel Duchamp, to the collage experiences of Kurt Schwitters Merzbau. The dissertation examines specially the production that has questioned the sculpture tradition, the contemporary manifestations that come from modern tradition, projecting the art field beyond the so far fixed artistic genders and searching to expand the notion of sculpture in terms of space and time, as well as your artistic practice significance. Between the decades of 1940 and 1960, the break with this tradition culminates in the radically body actions of Jackson Pollock that gives a new scale to paintings; and afterwards, in a production that emerged as a deep critique of the market and the every time earlier institutionalization of the art work. The contemporary art, therefore, would have its origin in a process of the object critique precipitated by mass culture problems where the works are recognized in a cultural word, even when they resist to their cooptation. Without being object of comprehensive analyses, the contemporary sculpture, if we still can denominate sculpture the works produced from the 1860 decade on, seems to have placed the modern notion of form in crisis, and started to operate in an enlarged context, open to space and to the urban cultural dynamic. It is at his moment that the dissertation approaches Richard Serra, José Resende and Hélio Oiticicas work and dedicates more careful analyses over those works that deal with environmental scale, or yet, approach either physical, social or cultural contingencies of the place in which they act, operating to the poetic of the site specificity.

O projeto de pesquisa analisa os rumos do pensamento escultórico moderno em direção a uma escala ambiental, processo que tem origem no final do séc. XIX, momento em que a obra A Porta do Inferno, de Auguste Rodin, modifica o espaço narrativo clássico, rompendo com a premissa do monumento e passando a pleitear cada vez mais uma imersão da obra no espaço do observador. O período das vanguardas históricas também foi fundamental para se repensar as fronteiras entre as linguagens tradicionais e o reconhecimento de outras esferas que não a das belas-artes, desde a dissolução da base na escultura de Constantin Brancusi, passando pela renovação do estatuto de arte em Marcel Duchamp, até as experiências de colagem com a obra Merzbau, de Kurt Schwitters. A dissertação examina especialmente a produção que desde então problematizou a tradição da escultura, privilegiando as manifestações contemporâneas que derivam da tradição moderna, projetando o campo da arte para além dos gêneros artísticos fixados até então, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Entre as décadas de 1940 e 1960, a ruptura com essa tradição culmina na radicalidade das ações corporais de Jackson Pollock, que conferem uma nova escala às pinturas; e, mais à frente, numa produção que emergia como crítica aguda ao mercado e à institucionalização cada vez mais precoce do trabalho de arte. A arte contemporânea, então, teria sua origem num processo de crítica do objeto, precipitado pelo problemas da cultura de massa, onde os trabalhos se reconhecem num mundo da cultura, mesmo ao resistirem a sua cooptação. Sem ter sido objeto de análises abrangentes, a escultura contemporânea, se é que ainda podemos denominar escultura os trabalhos produzidos a partir da década de 1960, parece ter colocado em crise a noção moderna de forma, e passa a operar num contexto ampliado, aberta ao espaço e à dinâmica cultural urbana. É nesse momento que a dissertação se aproxima das obras de Richard Serra, José Resende e Hélio Oiticica e passa a dedicar uma análise mais atenta sobre aqueles trabalhos que lidaram com uma escala ambiental, ou ainda, se aproximaram das contingências do lugar onde atuam, quer físicas, sociais ou culturais, operando próximos à poética do site specificity. / The research project analyses the directions of the modern sculptural thoughts towards an environmental scale, a process that begins in the end of the 19th Century, a moment in which Auguste Rodins The Gates of Hell modifies the classic narrative space breaking up with the premise of the monument and defend every time more an immersion of the work in the observer space. The historical vanguard period was also fundamental to rethink the boundaries between the traditional languages and the recognition of spheres that are not of fine arts ñ from the dissolution of the base in sculpture of Constantin Brancusi, passing through the renovation of the art statute of Marcel Duchamp, to the collage experiences of Kurt Schwitters Merzbau. The dissertation examines specially the production that has questioned the sculpture tradition, the contemporary manifestations that come from modern tradition, projecting the art field beyond the so far fixed artistic genders and searching to expand the notion of sculpture in terms of space and time, as well as your artistic practice significance. Between the decades of 1940 and 1960, the break with this tradition culminates in the radically body actions of Jackson Pollock that gives a new scale to paintings; and afterwards, in a production that emerged as a deep critique of the market and the every time earlier institutionalization of the art work. The contemporary art, therefore, would have its origin in a process of the object critique precipitated by mass culture problems where the works are recognized in a cultural word, even when they resist to their cooptation. Without being object of comprehensive analyses, the contemporary sculpture, if we still can denominate sculpture the works produced from the 1860 decade on, seems to have placed the modern notion of form in crisis, and started to operate in an enlarged context, open to space and to the urban cultural dynamic. It is at his moment that the dissertation approaches Richard Serra, José Resende and Hélio Oiticicas work and dedicates more careful analyses over those works that deal with environmental scale, or yet, approach either physical, social or cultural contingencies of the place in which they act, operating to the poetic of the site specificity.

Notre thèse porte sur Étienne Decroux, le créateur du mime corporel. Nous montrons que Decroux s’inspire à la fois du théâtre et de la sculpture pour concevoir son art du mime, qu’il définit comme la statuaire mobile. D’une part, il reprend le concept du masque de Jacques Copeau et celui de la sur-marionnette d’Edward Gordon Craig pour les transposer directement au corps. D’autre part, ses œuvres incarnent les formules de pathos observées dans les statues. La sculpture d’Auguste Rodin est une source d’inspiration centrale dans sa manière de représenter le corps sur scène. De plus, Decroux conçoit le corps comme une suite de prises de vues défilant devant le spectateur. Collaborant avec Étienne-Bertrand Weill qui photographie ses spectacles, il constitue une iconographie du mime pour mieux donner à voir le mouvement du corps en image. Enfin, Decroux considère le corps comme de la matière à sculpter. En s’identifiant aux sculpteurs mythiques, il met en avant l’aspect créateur de son art. Comme Pygmalion, il anime les corps de ses élèves. Comme Prométhée il transforme la société par son art aux aspects politiques. La statuaire mobile représente un concept-clé du mime corporel d’Étienne Decroux qui s’étend de la conception du mouvement sur scène à la prise de position éthique de l’homme dans le monde. / The thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man. / Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě.

Jules Barbey d’Aurevilly et les arts visuels peut sembler un sujet de thèse paradoxal, tant il est convenu de considérer Jules Barbey d’Aurevilly comme incompétent dans le domaine artistique. Catholique, à la fois romancier, diariste, épistolier et critique d’art éphémère, il demeure l’un des auteurs les plus inclassables du XIXe siècle. Si le critique d’art est généralement contesté, nous proposons ici un jugement plus nuancé. Nous montrons combien l’esthétique de son écriture profane et catholique renvoie à des évocations qui sont de véritables transpositions d’œuvres d’art, où sculpture et peinture rivalisent. Quelques couleurs spécifiques sont en effet récurrentes au point de faire l’objet d’une évidente déclinaison liturgique. Au plan matériel, son goût pour la couleur est démontré par ses manuscrits. Barbey révèle au monde une écriture picturale, mais aussi une personnalité source d’inspiration et de représentation pour de nombreux artistes. Nous nous attachons également à la réception du personnage, afin de montrer comment le dandy spectaculaire, devient lui-même œuvre d’art pour ses contemporains et un sujet d’artefacts, dont les sculpteurs Zacharie Astruc et Auguste Rodin s’emparent en lui façonnant chacun un buste de bronze. Nous montrons enfin combien Barbey est une source d’inspiration pour divers artistes, allant des illustrateurs par images fixes, jusqu’aux adaptateurs, réalisateurs cinéastes et téléastes. / Jules Barbey d’Aurevilly and the visual arts could be a paradoxical thesis because Jules Barbey d’Aurevilly is considered as incompetent in the artistic domain. Catholic, novelist, diarist, letter writer, and controversial art critic, he is regarded as one of the most unclassifiable authors of the XIXth century. He is one of the last romantics, but also one of the precursors of symbolism. His suggestive writing stimulates the reader’s imagination. If the art critic is controversial, yet the judgment must be qualified. His profane and religious esthetic way of writing suggests a real transposition of master works of arts, rivaling painting and sculpture. Some specific colours keep recurring so that they become the object of an obvious liturgical declension. Graphically, his taste for colour is demonstrated by his manuscripts. Barbey reveals to the world a pictorial way of writing, but also his personality is a source of inspiration and representation for numerous artists. In this thesis, the reader becomes attracted by the reception of his character, a Spectacular Dandy, who becomes a work of art himself for his contemporaries: the sculptors Zacharie Astruc and Auguste Rodin made bronze busts of him. Jules Barbey d’Aurevilly inspires the whole field of the visual arts, from illustrators of his published books, up to adapters, directors, film-makers and television directors.

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Le présent mémoire propose de retracer les parcours d’Edgar Degas et d’Auguste Rodin afin de comprendre comment ces deux artistes en sont arrivés à s’intéresser aux corps féminins en mouvement, au point de faire des états de corps plutôt que des états d’âme leur sujet de prédilection. Partant du fait que le premier avait d’abord songé à renouveler la peinture d’histoire et que le second s’inspirait volontiers de sources littéraires pour ses monuments, nous avons concentré notre approche sur la perte progressive de tout substrat narratif dans leur traitement des figures féminines. Nous examinons comment ce déplacement les dispense de l’impératif de créer des personnages vraisemblables pour diriger l’intérêt vers le modèle posant et les conditions de production de l’atelier. Il en résulte un curieux renversement des procédés qui, dans la tradition académique, assignaient le talent de l’artiste à la réalisation de la beauté idéale. Alors que les corps de femmes représentés par les deux artistes se livrent à des contorsions qui les défigurent avant de les faire éclater en fragments, Degas et Rodin multiplient les traces de leur dialogue avec le matériau et signalent leur volonté d’en finir avec certaines conventions de leur médium. Ces choix ne peuvent pas s’expliquer en dehors des bouleversements socioéconomiques importants qui traversent la période, affectant la condition féminine mais aussi celle des artistes, de leurs institutions et de leur marché. / This thesis proposes to follow the development of Edgar Degas’ and Auguste Rodin’s work to understand how those two artists came to take a quasi-exclusive interest in female bodies, to the point that physical rather than emotional states became the main focus of their oeuvre. Considering that the former was tempted by history painting and that the latter did not hesitate, at first, to borrow from literary sources for his monuments, we focus our approach on the progressive elimination of all narrative subtexts in their representations of female figures. We examine how this move displaced the interest from character and role playing to focus on the physical presence of the model and on the working conditions prevailing in the atelier. This results in a complete overthrowing of the academic rules enrolling artistic talent in the service of ideal beauty. While their female bodies become so contorted that they end up disfigured before exploding into fragments, the two artists make themselves more present as the producers of their work, leaving traces of their manipulations and structural inventions in their mediums. These strategies are of course inseparable from the important socioeconomic changes that mark the period and modify not only the condition of women but also the status of artists, the authority of art institutions and the nature of the art market.

The present thesis treats the importance of a particular cultural institution, i.e. Rodin museum, for cultural tourism in France. In the theoretical part, it deals with cultural tourism in general, tourism and culture in France, and finally it associates those two in cultural tourism in France. Then it concentrates on the tourism of Paris. In the practical part, a deep analysis of Rodin museum is elaborated. All discovered facts were used to compose a SWOT analysis and recommendations.