Bibliographie
Bibliographie
The Art Journal Illustrated Catalogue, The Industry of all Nations, 1851, Londres : George Virtue, 1851.
Official Catalogue of the Great Exhibition of the Works of Industry of All Nations, Londres : 1851.
AUERBACH Jeffrey A., The Great Exhibition of 1851, A Nation on Display, New Haven et Londres :Yale University Press, 1999.
BABBAGE Charles, The Exposition of 1851, Londres: W. Pickering, 1989.
BENJAMIN Walter, « L’Œuvre d’art à l’époque de sa reproductibilité technique », in Œuvres III, Paris : Gallimard, 2000.
BROWNING Elizabeth Barrett, Poems by Elizabeth Barrett Browning, Londres : Smith, Elder and Co., 1887.
ELLMANN Richard (éd.), The Artist as Critic, Critical Writings of Oscar Wilde, Chicago : University of Chicago Press, 1969.
GAUTIER Théophile, Emaux et Camées, Paris : Gallimard, 1981.
GERE Charlotte, The House Beautiful, Oscar Wilde and the Aesthetic Interior, Londres : Lund Humphries, Geffrye Museum, 2000.
GRAMICCIA Anna (ed.), I colori del bianco : Policromia nella scultura antica, Rome : De Luca, 2004.
HASKELL Francis, Rediscoveries in Art, Some Aspects of Taste, Fashion and Collecting in England and France, Oxford : Phaidon, 1980.
JENKINS Ian, Archeologists and Aesthetes in the sculpture galleries of the British Museum, 1800-1939, Londres : British Museum Press, 1992.
JENKYNS Richard, The Victorians and Ancient Greece, Oxford : Blackwell, 1980.
JONES Owen, An Apology for the Colouring of the Greek Court in the Crystal Palace, Londres : Crystal Palace Library et Bradbury and Evans, 1854.
KEMPT R. (éd.), What Do You Think of the Exhibition? A Collection of the Best Descriptions and Criticisms from the Leading Journals Concerning the International Exhibition, Londres : James Hogg and Sons, 1862.
RICHARDS Thomas, The Commodity Culture in Victorian England, Advertising and Spectacle 1851-1914, Palo Alto : Stanford University Press, 1990.
ROSSETTI William Michael, Fine Art, Chiefly Contemporary, Londres : Macmillan, 1867.
SWINBURNE Algernon Charles, The Complete Works of Algernon Charles Swinburne, in GOSSE Edmund et Thomas J. WISE (éd.), 20 vol., Londres : William Heinemann, 1925-27.
SWINBURNE Algernon Charles, Swinburne’s Poems, Londres : Chatto and Windus, 1904.
WHISTLER James Abbott McNeill, The Gentle Art of Making Enemies, New York : Dover Publications, Inc., 1967.
WILDE Oscar, The Collected Works of Oscar Wilde, in ROSS Robert (ed.), Londres : Routledge and Thoemmes Press, 1993.
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Notes
Cette exposition itinérante eut lieu dans trois musées (Glyptothèque de Monaco, Glyptothèque de Ny Carlsberg à Copenhague et musée du Vatican) entre la fin de l’année 2003 et le début de l’année 2005. Anna Gramiccia (éd.), I colori del bianco : Policromia nella scultura antica, Rome : De Luca, 2004.
Article de John Hooper publié dans The Guardian daté du 22 novembre 2004 consulté en ligne en février 2005 <http://www.guardian.co.uk/arts/features/story/0,11710,1356700,00.html>, The Ancients now available in colour.
Voir Image: <http://www.victorianweb.org/sculpture/nudes/gibson1.html>, Site consulté en février 2005.
Voir image: <http://www.corcoran.org/collection/highlights_main_results.asp?ID=7>, Site consulté en février 2005.
Elizabeth Barrett Browning, “Hiram Power’s Greek Slave”, in Poems by Elizabeth Barrett Browning, Londres : Smith, Elder and Co., 1887, 352.
Punch daté du 24 mai 1851 in Jeffrey A. Auerbach, The Great Exhibition of 1851, A Nation on Display, New Haven et Londres : Yale University Press, 1999, 168. “We have a Greek captive in dead stone, why not the Virginian Slave in living ebony?”
Ian Jenkins, Archeologists and Aesthetes in the sculpture galleries of the British Museum, 1800-1939, Londres : British Museum Press, 1992, 50.
Owen Jones, An Apology for the Colouring of the Greek Court in the Crystal Palace, Londres :Crystal Palace Library et Bradbury and Evans, 1854.
Pour une illustration de la frise originelle du Parthénon cf. Lawrence Alma-Tadema dans son tableau intitulé Phidias Showing the Frieze of the Parthenon to his Friends, 1868. Image en ligne: <http://www.artrenewal.org/asp/database/image.asp?id=595>, Site consulté en février 2005.
William Michael Rossetti, Fine Art, Chiefly Contemporary, Londres :Macmillan, 1867, 52.
Charles Babbage, The Exposition of 1851, Londres : W. Pickering, 1989, 31. “The Venus de Medici itself could not be justly excluded from a purely industrial exhibition – if placed in the centre of a series diminishing on the one side to a statuette of a foot high, and increasing another to a figure double her own height. Such a series, though fairly introduced as an illustration of industrial art, would indeed itself be highly interesting to the fine arts. “
Ralph Nicholson Wornum, “The Exhibition as a Lesson in Taste, an Essay on Ornamental Art as Displayed in the Industrial Exhibition in Hyde Park, in which the Different Styles are Compared with a View to the Improvement of Taste in Home Manufacturers”, in The Art Journal Illustrated Catalogue, Londres : George Virtue, 1851, I-II. “Let us take a lesson from the experience of past ages – [...] the terra-cottas of Samos, the bronzes of Corinth did not command the markets of the ancient world either for their materials or for their mechanical qualities but in the gratification of one of the most urgent necessities of the mind in an advanced social state: they were [...] objects of a cultivated refined taste. [...] It is not till we come to Greece that we find the habitual introduction of forms for their own sake, purely as ornaments and this is a very great step in art.”
Oscar Wilde, “The Critic as Artist”, in Richard Ellmann (éd.), The Artist as Critic, Critical Writings of Oscar Wilde, Chicago: University of Chicago Press, 1969, 354. “Whatever in fact is modern in our life we owe to the Greeks.”
Oscar Wilde, “The Soul of Man Under Socialism” cité in Charlotte Gere, The House Beautiful, Oscar Wilde and the Aesthetic Interior, Londres :Lund Humphries, Geffrye Museum, 2000, 8.
Official Catalogue of the Great Exhibition of the Works of Industry of All Nations, Londres: 1851, 1. “No article is allowed to be sold in the Building, except the Official Catalogue and no other article is allowed to be taken out.”
In Thomas Richards, The Commodity Culture in Victorian England, Advertising and Spectacle 1851-1914, Palo Alto : Stanford University Press, 1990, 38. “The Exhibition being intended for the purposes of display only, and not for those of sale [...] the Commissioners have decided that the prices are not to be affixed to the articles exhibited.”
Official Catalogue, op. cit., 1. “Visitors are particularly requested not to touch any of the articles.”
Walter Benjamin, « L’œuvre d’art à l’époque de sa reproductibilité technique », in Œuvres III, Paris : Gallimard, 2000, 281.
“With conscious pride/I stud inside/And looked the World’s Great Fair in/Until me sight/Was dazzled quite/And couldn’t see for staring”, William Thackeray, “Mr Maloney’s Account of the Crystal Palace » in Richards, op. cit.,31.
Official Descriptive and Illustrated Catalogue, 4: plate 335, cité in Richards, Ibid., 33.“80 blades… with gold inlaying, etching and engraving, representing various subjects, including views of the Exhibition building, Windsor castle, Osborne House, the Britannia Bridge, etc. “.
Cf. Auerbach, op. cit., 92. “The raw materials of industry; the manufactures made from them; and the art used to adorn them.”
Babbage, op. cit., chapitres 8 et 9.
“Select Committee on the National Gallery” § 9050-9057, in Francis Haskell, Rediscoveries in Art, Some Aspects of Taste, Fashion and Collecting in England and France, Oxford: Phaidon, 1980, 101-102. “Milnes : Do you think as many persons attend and take an interest in the Elgin Marbles, when they are side by side with the Nineveh sculptures as would take an interest in them if the Elgin Marbles were alone ?
Westmacott : They would consider them as very curious monuments of an age they feel highly interested in; but the interest in the Elgin Marbles arises from a distinct cause; from their excellence as works of art.
Milnes : Have not cases occurred in the intellectual history of many nations, in which the very free introduction of more barbarous specimens, such, for instance, as the Chinese, have had a very injurious effect upon taste in general?
Westmacott : I certainly think that the less people, as artists, look at objects of that kind, the better”.
James Mc Neill Whistler, “The Ten O’Clock Lecture”, inThe Gentle Art of Making Enemies, New York :Dover Publications, Inc., 1967, 159.“The story of the beautiful is already complete – hewn in the marbles of the Parthenon – and broidered, with the birds, upon the fan of Hokusai – at the foot of Fusiyama.”
Rossetti, op. cit., 127. “It would be a nice question for an artistic theorist to decide where the industrial art of the International Exhibition ends and its fine art begins”.
Cf. par exemple « The Six-Mark Tea-Pot » publié dans Punch daté du 30 novembre 1880 (in Gere, op.cit., 13 ; voir image sur le site <http://www.swarthmore.edu/Humanities/kjohnso1/pater.html>) où l’on reconnaît Wilde, rebaptisé Algernon, le prénom de Swinburne, et le profil de Jane Morris, l’égérie de Dante Gabriel Rossetti et de Burne-Jones, et l’épouse de William Morris. La femme est décrite ici comme « intense », un des adjectifs fétiches des Esthètes, notamment de Walter Pater. Les objets dans la pièce reflètent l’éclectisme de ces influences avec une large place accordée à l’art asiatique : le paravent aux oiseaux, le vase chinois et la « blue and white six-mark tea-pot ». Mais il s’agit surtout ici d’une attaque à peine voilée contre Oscar Wilde qui se plaignait durant ses années passées à Oxford : « I am finding it harder and harder to live up to my blue china ».
J’ai choisi l’expression « objet beau » plutôt que « bel objet » en référence à la postposition de l’adjectif adoptée par Oscar Wilde dans le titre d’une de ses conférences : « the House Beautiful ».
Whistler, “The Ten O’Clock Lecture”, op. cit., 140-141. “And the people lived in marvels of art -and ate and drank out of masterpieces - for there was nothing else to eat and drink out of.”
Punch daté du 31 janvier 1891, vol. 100, 53 in <http://gutenberg.org/dirs/1/3/0/6/13067/13067-h/13067-h.htm>, Site consulté début février 2005. “Oh, Liberty, Liberty, what strange (decorative) things are down in thy name!”
Oscar Wilde, “The Practical Application of the Principles of the Aesthetic Theory to Exterior and Interior House Decoration, With Observations upon Dress and Personal Ornaments”, (1882) in Robert Ross (ed.), The Collected Works of Oscar Wilde, vol. XIV, Londres : Routledge and Thoemmes Press, 1993, 286. “If the simple and unaided colour strikes the right keynote, the whole conception is made clear. I regard Mr. Whistler’s famous Peacock Room as the finest thing in colour and art decoration which the world has known [...] Mr. Whistler finished another room just before I came away - a breakfast room in blue and yellow. The ceiling was a light blue, the cabinet-work and the furniture were of a yellow wood, the curtains at the windows were white and worked in yellow, and when the table was set for breakfast with dainty blue china nothing can be conceived at once so simple and so joyous.”
Gregory Grace in R. Kempt (ed.), What Do You Think of the Exhibition? A Collection of the Best Descriptions and Criticisms from the Leading Journals Concerning the International Exhibition, Londres : James Hogg and Sons, 1862, 87. “Nothing is so charming and so refreshing to the eye as a harmonious arrangement of colours. They are ‘like a sweet chord of music to the sense’.”
Whistler, “The Red Rag”, op. cit., 126-127. “Why should I not call my works « symphonies », [...] « harmonies », and « nocturnes » ? I know that many good people think my nomenclature funny and myself « eccentric ». […] If they really could care for pictorial art at all, they would know that the picture should have its own merit.”
J’emprunte cette distinction entre objet d’observation et objet de contemplation à Daniel Arasse, « Interpréter l’art : entre voir et savoirs », conférence du 12 juillet 2001 pour l’Université de tous les savoirs. Consulté en ligne en mars 2005 : <http://lemonde.fr/web/article/0,1-0@2-3328,36-207350,0.html >.
Richard Jenkyns, The Victorians and Ancient Greece, Oxford:Blackwell, 1980, 141.
Cf. la série de tableaux Pygmalion and the Image (1875-1878) d’Edward Burne-Jones et le tableau d’Alma-Tadema, A Sculptor’s Model (1877), inspiré de la Venus de l’Esquilin.
The Art Journal Illustrated Catalogue, op. cit., vi. “Connecting the manufacturer with the artist [...] to supply sources of after-education to manufacturers and artisans of all classes.”
Rossetti, op. cit., 66. “Speaking of Nicias, when asked which of his marble works best satisfied him, replied ‘Those which Nicias had under his hands’.”
Théophile Gautier, « L’Art » in Emaux et Camées, Paris : Gallimard, 1981, 148.
Algernon Charles Swinburne, Notes on Poems and Reviews, in Edmund Gosse et Thomas J. Wise (ed.), The Complete Works of Algernon Charles Swinburne, Londres : William Heinemann, 1925-27, vol. 16, 359. “I have striven to cast my spirit into the mould of hers.”
Swinburne, « Memorial Verses, on the Death of Théophile Gautier”, inSwinburne’s Poems, Londres :Chatto and Windus, 1904, vol. 3, vv. 85-88 et vv. 125-128.
Swinburne, « Ode, Le Tombeau de Théophile Gautier », ibid., vv. 8-14.
R. W. Binns et J. Hadley pour la Royal Worcester Porcelaine Co. En 1881, cf. Gere, op. cit., 93 et image en ligne: <http://propascene.com/exhibithighlight/thehousebeautiful.htm>, Site consulté en février 2005. Fearful consequences through the laws of Natural Selection and Evolution of living up to one’s teapot.
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