{"id":4122,"date":"2021-07-26T11:39:36","date_gmt":"2021-07-26T09:39:36","guid":{"rendered":"https:\/\/wp.unil.ch\/metis\/?p=4122"},"modified":"2021-11-08T03:48:41","modified_gmt":"2021-11-08T02:48:41","slug":"appel-a-communications-gustave-courbet-latelier-sans-fin","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/metis\/2021\/07\/appel-a-communications-gustave-courbet-latelier-sans-fin\/","title":{"rendered":"Appel \u00e0 communications | Gustave Courbet, l’atelier sans fin"},"content":{"rendered":"

\"\"<\/a><\/p>\n

English version below\u00a0<\/em><\/p>\n

Colloque international, Ornans, 11-12 mars 2022.<\/p>\n

Colloque organis\u00e9 par le Mus\u00e9e et P\u00f4le Courbet, Ornans, en partenariat avec l\u2019Institut national d\u2019histoire de l\u2019art, Paris<\/p>\n

Candidatures \u00e0 envoyer avant le 10 septembre 2021<\/p>\n

Atelier Courbet<\/p>\n

14 avenue Mare\u0301chal de Lattre de Tassigny<\/p>\n

25290 Ornans<\/p>\n

Appel et informations compl\u00e9mentaires<\/a><\/strong><\/p>\n

\u00c0 l\u2019occasion de la restauration et de l\u2019ouverture prochaine au public du dernier atelier de Gustave Courbet (1819-1877) \u00e0 Ornans, le Mus\u00e9e et P\u00f4le Courbet organise un colloque international autour du peintre et de la notion d\u2019atelier. Cet \u00e9v\u00e9nement, organis\u00e9 en partenariat avec l\u2019Institut national d\u2019histoire de l\u2019art, aura lieu les 11 et 12 mars 2022 \u00e0 Ornans, sur le site m\u00eame, dans la salle attenante \u00e0 cet atelier.<\/p>\n

Acquis en 2007 par le d\u00e9partement du Doubs, le dernier atelier de Courbet a conserv\u00e9 les espaces au sein desquels le peintre a produit quelques-unes de ses derni\u00e8res \u0153uvres majeures. Au plafond figurent encore deux peintures murales qui ont surv\u00e9cu aux affres du temps et \u00e0 cent ans de quasi abandon. Occupant chacune un bandeau horizontal de pr\u00e8s de 15\u00a0m\u00b2, sur une surface incurv\u00e9e, ces deux \u0153uvres r\u00e9alis\u00e9es par Courbet repr\u00e9sentent deux paysages,\u00a0La Seine \u00e0 Bougival<\/em>\u00a0et\u00a0L\u2019Escaut se jetant dans la mer<\/em>. Par ce lieu install\u00e9 au c\u0153ur de la vall\u00e9e de la Loue, l\u2019artiste souhaitait cr\u00e9er les conditions id\u00e9ales de cr\u00e9ation dans un environnement fa\u00e7onn\u00e9 qu\u2019il voulait \u00ab\u00a0entourer d\u2019une haie vive [\u2026] et d\u2019\u00e9chalas longs reli\u00e9s de fil de fer\u00a0\u00bb et o\u00f9 il d\u00e9sirait\u00a0\u00ab\u00a0planter des bouquets d\u2019arbres, toutes essences pour [s]a peinture \u00bb (lettre \u00e0 Juliette Courbet, 9 f\u00e9vrier 1859). Le site pr\u00e9figure dans son ambition la maison-atelier de Giverny de Claude Monet.<\/p>\n

L\u2019objectif de ce colloque est double : il permettra d\u2019une part de poser la question pr\u00e9cise du rapport de Courbet \u00e0 son ultime espace de travail, et d\u2019interroger \u00e0 nouveau, \u00e0 la lumi\u00e8re de recherches r\u00e9centes, la place cardinale qu\u2019occupe la notion d\u2019atelier dans sa trajectoire d\u2019artiste. De l\u2019autre, le cas de Courbet servira \u00e0 \u00e9tendre l\u2019objet des \u00e9changes vers la question plus vaste de l\u2019atelier d\u2019artiste du XIXe<\/sup>\u00a0au temps pr\u00e9sent, ins\u00e9rant l\u2019\u00e9v\u00e9nement dans un champ de recherche particuli\u00e8rement dynamique. L\u2019atelier y sera abord\u00e9 dans la diversit\u00e9 de sa topographie, de l\u2019espace intime de cr\u00e9ation jusqu\u2019\u00e0 ses alentours. Site de la concentration et de la pratique, voire d\u2019assemblage ou de bricolage, mais aussi espace de formation et de sociabilit\u00e9s, l\u2019atelier pourra en outre \u00eatre envisag\u00e9 comme un emplacement strat\u00e9gique \u2013 celui d\u2019un ancrage local d\u00e9terminant pour le cas de Courbet. Si son\u00a0Atelier du peintre\u00a0<\/em>(mus\u00e9e d\u2019Orsay) le repr\u00e9sente dans son atelier parisien en train de peindre un paysage \u2013 au point qu\u2019Eug\u00e8ne Delacroix parla d\u2019un tableau faisant \u00ab\u00a0amphibologie\u00a0\u00bb \u2013, l\u2019atelier d\u2019Ornans porte sur ses murs des paysages d\u2019ailleurs, comme pour transgresser les lois du cloisonnement des territoires.<\/p>\n

Cet \u00e9v\u00e9nement se veut pluridisciplinaire envisage d\u2019associer historiennes et historiens de l\u2019art et de la litt\u00e9rature, conservateurs et conservatrices de mus\u00e9es, mais aussi des anthropologues, philosophes ou architectes afin de contribuer \u00e0 une meilleure compr\u00e9hension du complexe de l\u2019atelier. Non limit\u00e9es au seul XIXe<\/sup>\u00a0si\u00e8cle mais ouvrant volontairement sur le statut contemporain de cet espace, diff\u00e9rentes pistes pourront \u00eatre explor\u00e9es durant ces journ\u00e9es, parmi lesquelles\u00a0:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Courbet et la notion d\u2019atelier\u00a0; la relation de Courbet \u00e0 ses espaces de travail<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L\u2019atelier comme espace int\u00e9rieur ; le rapport au paysage<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L\u2019atelier d\u2019artiste comme habitat et espace de sociabilit\u00e9 (flux, visites, \u00e9changes, transmissions)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L\u2019atelier d\u2019artiste, ses alentours et ses contrepoints (le dedans\/le dehors, l\u2019int\u00e9rieur\/la nature, centre urbain\/ruralit\u00e9, le local\/le global, l\u2019itin\u00e9rant\/le permanent)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L\u2019atelier d\u2019artiste et ses repr\u00e9sentations artistiques, musicales, litt\u00e9raires, cin\u00e9matographiques (f\u00e9tiches, mythologies, images, narrations)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La patrimonialisation de l\u2019atelier d\u2019artiste (processus, pratiques, mus\u00e9alisations)\u00a0; l’enjeu des mus\u00e9es-ateliers et leur r\u00e9ception\u00a0; lieux vivants\/m\u00e9moriaux<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Reconstituer\/restaurer\/faire, rena\u00eetre\/ouvrir\/fermer, les enjeux de la r\u00e9novation architecturale et mus\u00e9ographique de l\u2019atelier d\u2019artiste<\/p>\n

\u00a0Candidatures<\/p>\n

Les propositions de communication (2000 signes) accompagn\u00e9es d\u2019une br\u00e8ve biographie sont \u00e0 adresser jusqu\u2019au\u00a010 septembre 2021<\/strong>\u00a0\u00e0 Aur\u00e9lia Channaux (aurelia.channaux@doubs.fr<\/a>).<\/p>\n

Comit\u00e9 scientifique de l\u2019\u00e9v\u00e9nement\u00a0:<\/strong><\/p>\n

No\u00ebl Barbe (CNRS)<\/p>\n

Victor Claass (INHA)<\/p>\n

Dominique de Font-R\u00e9aulx (mus\u00e9e du Louvre)<\/p>\n

Benjamin Foudral (Mus\u00e9e et P\u00f4le Courbet)<\/p>\n

France Nerlich (INHA)<\/p>\n

Isolde Pludermacher (mus\u00e9e d\u2019Orsay)<\/p>\n

Thomas Schlesser (Fondation Hartung Bergmann)<\/p>\n

Bertrand Tillier (Universit\u00e9 Paris 1\u00a0Panth\u00e9on-Sorbonne)<\/p>\n

Pierre Wat (Universit\u00e9 Paris 1\u00a0Panth\u00e9on-Sorbonne)<\/p>\n

Call for papers<\/strong><\/p>\n

Gustave Courbet, l\u2019atelier sans fin<\/strong><\/p>\n

International conference, Ornans, 11-12 March 2022<\/p>\n

Conference organised by the Mus\u00e9e et P\u00f4le Courbet, Ornans, in partnership with the Institut national d\u2019histoire de l\u2019art, Paris<\/p>\n

Submission deadline:\u00a010 September 2021<\/strong><\/p>\n

Atelier Courbet<\/p>\n

14 avenue Mare\u0301chal de Lattre de Tassigny<\/p>\n

25290 Ornans<\/p>\n

CFP and information<\/a><\/p>\n

On the occasion of the restoration and imminent public opening of Gustave Courbet\u2019s (1819-1877) final studio at Ornans, the Mus\u00e9e et P\u00f4le Courbet is organising an international conference on the subject of Courbet and the notion of the\u00a0atelier<\/em>. This event, organised in partnership with the Institut national d\u2019histoire de l\u2019art, will take place on the 11th and 12th of March 2022 on-site in Ornans, in the space adjoining the painter\u2019s studio.<\/p>\n

Acquired in 2007 by the Doubs department, the spaces in which Courbet produced some of his last major works have been conserved here in the artist\u2019s studio. On the ceiling two murals have survived the ravages of time and a century of near-abandonment. Each occupying a curved horizontal strip of nearly 15 m\u00b2, these works depict two landscapes,\u00a0La Seine \u00e0 Bougival<\/em>\u00a0and\u00a0L\u2019Escaut se jetant dans la mer<\/em>. In his studio in the heart of the Loue valley, the artist envisaged constructing the ideal conditions for creation, a fabricated environment which he would \u201csurround with living hedgerows and long stakes linked with wire\u201d and in which he would \u201cplant groves of trees, all essences for [his] painting.\u201d (Letter to Juliette Courbet, 9 February 1859) In its ambitions, the site prefigures the \u2018maison-atelier\u2019 of Claude Monet at Giverny.<\/p>\n

The aim of this conference is twofold: on one hand it will make it possible to question the precise nature of Courbet\u2019s relationship to his ultimate workspace, and to reconsider, in the light of recent research, the cardinal place the notion of the studio holds in our understanding of the trajectory of the artist. On the other, taking Courbet as an example we can further investigate the wider question of the artist\u2019s studio from the 19th century to the present day, positioning the event in a particularly dynamic field of research. The studio will be considered in all its topographical diversities, from its intimate places of creation to its surrounding landscapes. A site of concentration and craft, even construction or DIY, but also a space of learning and socialising, the studio might be considered a strategic choice of location \u2013 anchoring Courbet\u2019s case firmly in the local. If his\u00a0Atelier du peintre\u00a0<\/em>(mus\u00e9e d\u2019Orsay) represents the artist in his Parisian studio painting a landscape \u2013 a work in response to which Eug\u00e8ne Delacroix spoke of a painting constituting an \u2018amphibology\u2019 \u2013 the Ornans studio carries on its own walls images of landscapes elsewhere, as if to transcend the idea of dividing lands.<\/p>\n

This multidisciplinary event aims to involve not only historians of art and literature and museum curators, but also anthropologists, philosophers and architects, in order to contribute to a better understanding of the notion of the artist\u2019s studio. It is not limited solely to the 19th century, and as such is open to contributions discussing the contemporary status of this space. Various avenues may be explored over the two days, including:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Courbet and the concept of the studio; Courbet\u2019s relationship with his work spaces<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The studio as interior space; its relation to the landscape<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The artist\u2019s studio as living environment and social space (flux, visits, exchanges, transmissions)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The artist\u2019s studio, its surroundings and contrasts (inside vs. outside, interior vs. nature, urban centre vs. rural setting, local vs. global, transitory vs. permanent)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The artist\u2019s studio and its representation in art, music, literature, cinema (fetishisation, mythologies, images, narrations)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The artist\u2019s studio as place of cultural heritage (processes, practices, museumification;) the challenges of studio museums and their reception; living places becoming memorials<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Reconstitute\/restore\/construct, remake\/open\/close, the stakes of architectural and museographic renovation in the artist\u2019s studio<\/p>\n

\u00a0Application<\/p>\n

Propositions (2000 characters) accompanied by a brief biography can be sent to Aur\u00e9lia Channaux (aurelia.channaux@doubs.fr<\/a>) before\u00a010 September 2021.<\/strong><\/p>\n

Organising committee:<\/strong><\/p>\n

No\u00ebl Barbe (CNRS)<\/p>\n

Victor Claass (INHA)<\/p>\n

Dominique de Font-R\u00e9aulx (mus\u00e9e du Louvre)<\/p>\n

Benjamin Foudral (Mus\u00e9e et P\u00f4le Courbet)<\/p>\n

France Nerlich (INHA)<\/p>\n

Isolde Pludermacher (mus\u00e9e d\u2019Orsay)<\/p>\n

Thomas Schlesser (Fondation Hartung Bergmann)<\/p>\n

Bertrand Tillier (Universit\u00e9 Paris 1\u00a0Panth\u00e9on-Sorbonne)<\/p>\n

Pierre Wat (Universit\u00e9 Paris 1\u00a0Panth\u00e9on-Sorbonne)<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

English version below\u00a0 Colloque international, Ornans, 11-12 mars 2022. Colloque organis\u00e9 par le Mus\u00e9e et P\u00f4le Courbet, Ornans, en partenariat avec l\u2019Institut national d\u2019histoire de l\u2019art, Paris<\/p>\n","protected":false},"author":1001537,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[65],"tags":[],"class_list":["post-4122","post","type-post","status-publish","format-standard","category-appels-a-communication"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/4122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/users\/1001537"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/comments?post=4122"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/4122\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/media?parent=4122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/categories?post=4122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/tags?post=4122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}