La vie artistique à Céret de 1911 à 1914
Institution:
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Abstract EN:
A partir de 1884, des artistes parisiens partent se regenerer dans les regions mediterraneennes encore peu connues, la provence, la corse et plus tard, le roussillon. Vers 1900, les sejours en catalogne se multiplient, favorises par des amateurs d'art roussillonnais (certains vivent a paris), et espagnols, qui ouvrent leurs demeurent durant l'ete, a leurs amis artistes, ecrivains, et musiciens. Celles-ci deviennent peu a peu de veritables foyers d'art moderne d'ou emane une activite plus ou moins dense et variee, encourageant les artistes de la region, et preparant un contexte favorable a la naissance d'autres lieux de reunion, tel celui de ceret. En effet, en 1909, un nouveau groupe d'amis s'installa en vallespir, et creera le foyer artistique le plus important en roussillon avant la premiere guerre. La venue en vallespir de l'un des personnages les plus pittoresques de montmartre, manolo hugues, accompagne de deodat de severac, et de franck burty, attira de nombreuses personnalites du monde artistique et litteraire parisien. Ce fut marc lafargue, qui incita les trois amis a l'installer en roussillon, oules rejoignirent bientot, picasso et braque en 1911, qui connurent la une intense periode d'echanges amenant de nouvelles decouvertes picturales les faisant passer du cubisme analytique au cubisme synthetique; puis kisling, marchand, de segonzac, picabia en 1912, enfin herbin, gris, en 1913. Des ecrivains se joignirent egalement a eux, salmon, jacob, basler. . . Quesques barcelonais, junoy sunyer, casanovas, se rendirent aussi a ceret. Les journalistes parlerent alors d'ecole de ceret pour designer ce phenomene qui rassemblait tant d'artistes. En fait, il n'y eut que de simples reunions, qui avaient souvent lieu dans les cafes, au cours desquelles s'echangeaient des points de vue sur l'art, sur le cubisme, mais il n'y eut aucun enseignement. . .
Abstract FR:
From 1884, parisian artists go to revive them in the mediterranean countries, still unknown, provence, corse, and later, roussillon. About 1900, the catalan stays go increasing, favoured by rossellones art lovers (some of them live in paris) and spanishs, who open their residences, during the summer, to their friends, artistis, writers, and musicians. These one become gradually real art centres from which emanate an activity more or less dense and varied. Encouraging the artists of the country, and preparing a favorable context for the birth of others sites of artists meetings like ceret. Il effect, in 1909, a new group of friends settled in vallespir, creating the most important art centre in the roussillon before the first war. The coming in vallespir of one of the more picturesque figure of montmartre, manolo hugue, accompanied by deodat de severac and franck burty, attracted lot of person alities of the artistic and litterary parisian world. It was marc lafargue, who incited the three friends to settle in roussillon where they were soon joined by, picasso and braque in 1911, who knewed there an great exchange period, bringing new pictural discovers making them pass from analytic cubism to synthetic cubism; then, kisling marchand, de segonzac, picabia, in 1912; finally, in 1913, herbin, gris, the most famous. Some barceloneses junoy, sunyer; casanovas, utrillo go there too. The journalists then talk about "school of ceret" to desing this phenomenon who rallied so much artists. In fact, there have been only simple meetings, who took place in the coffees during which points of vue were exchanged, on art or cubism, but there have been no teaching. Meanwhile, the emulation created by the presence of so much personalities of the artistic and litterary parisian word, stimulated each of them, and brought them to a maturity phase. . .