Journée d'études Autour des modernes

LA CONSTITUTION DE COLLECTIONS D'ART MODERNE

10h30 John MILNER, Visiting Professor at the Courtauld Institute of Art, London [2003-06]. Professor Emeritus at the University of Newcastle-upon-Tyne [to 2003]
Museums of Modern Art as a phenomenon: culture, germination, and location
Museums of Modern Art have been the most powerful cultural institutions in the visual arts and their histories in the twentieth century. As a phenomenon they have spread internationally with great wealth and authority, yet their development has been neither smooth nor universal.
This paper indicates limits to the phenomenon in both time and space, and proposes investigative techniques that suggest surprising conclusions.

11h Sylvie RAMOND, Conservateur en chef du patrimoine, Directeur du musée des Beaux-Arts de Lyon
La collection d'art moderne du Musée des Beaux-Arts de Lyon

GRANDS COURANTS, ASPECTS OU FIGURES DE L'ART DU XXe SIÈCLE

15h
Matthew AFFRON, Curator of Moderne Art, University of Virginia Art Museum, Associate Professor, Art Department, University of Virginia
Pure Color
The modern collection at the Musée des Beaux-Arts de Lyon contains a group of extraordinary images which provoke reflection on new uses of color in the early decades of the twentieth century. I will consider issues of pictorial construction, abstraction and representation, and sensory experience around color in compositions by Valensi, Survage, Sonia and Robert Delaunay, and Gleizes.

15h30 Neil COX, Professor of Art History and Theory at the University of Essex
War Music: The still life according to Picasso, 1939-46
“Picasso is one of the most significant exponents of still life painting in twentieth-century art. This talk will focus on still life in the period from the ‘Drôle de guerre' to the moment when a new balance of ‘world' powers came into being. Central moments along the way include the misery and ironies of German Occupation, the euphoria of the Liberation and the horrific revelations that came towards the end of hostilities in Europe. ‘I have not painted the war', Picasso told one American journalist in 1944, ‘But I have no doubt that the war is in these paintings that I have done.' Focussing on the three works in the exhibition and situating them in Picasso's war art and the broader themes of his still life works, this paper will consider what it might mean to grasp the war, from its inception to its dénouement, as something visible ‘in' them.”

16h15 Annie CLAUSTRES, Maître de conférences en Histoire de l'art contemporain du XXe siècle, Université Lyon 2
L'abstraction singulière de Hans Hartung dans le contexte de l'après-guerre
Si le signe noir des peintures de Hans Hartung devient rapidement un emblème du contexte français de l'après-guerre, sa teneur s'enracine dans les années 1920 et entre en résonance avec la tension noire des œuvres graphiques de l'expressionnisme allemand. L'abstraction engagée de l'artiste se dote ainsi d'une aura singulière.

16h45 Anne SAUVAGNARGUES, maître de conférences en philosophie de l'art à l'École normale supérieure de Lyon
Visage, visagéité : la question du portrait chez les Modernes

17h15 : Discussion