Le rôle pionnier de la Bibliothèque nationale dans la reconnaissance de la photographie commo oeuvre: le cabinet des Estampes, premier musée de la photographie en France?
- Autores: Véronique Figini
- Localización: Revue de l'art, ISSN 0035-1326, Nº. 181, 2013, págs. 55-62
- Idioma: francés
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Resumen
Preserved very early on in the collections and public reserves in France, the photography was sistematicaly considered and classified as a document. At the end of the 1930s, the Cabinet des Estampes of the Bibliothèque Nationale broke this custom. The new director, Jean Laran, officially recognized photographers giving them the status of author and made it possible for photographs to be considered as Works of art. The Rubicon was finally crossing and the artistic value of photography, already recognized in the 19th century by several pioneer curators was now made act. During the same period, in this secular institution, a wide-ranging program was conceived for the photographic media. In close collaboration with the curator Jean Prinet, it can be considered as the first public policy of enrichement in photographic prints in France. Just before World War II, the Cabinet des Estampes displayed a double objetive: remain the largest center of iconographic documentation in the world and, new ambition, become a "musem of photography". The idea of a specialized museum is an old one, but the decision to create it inside of a library is at the same time surprising and contradictory. Why? How? To what aim? Many questions which lead to traicing "in fine" act I of the institutinal recognition of photography as art, in France: a chapter of the history of photography, ignored up until the present time.
