Le musée imaginaire à l'atelier Malraux, Daumier

• Autores: Ségolène Le Men
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 182, 2013 (Ejemplar dedicado a: Musées imaginaires), págs. 43-52
• Idioma: francés
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• Resumen

  • In "La Tête d'Obsidienne", 1975, Malroux goes back to the "Museum without Walls" and defines it, remembering a conversation with Picasso, as "a mental space". The issue become that of the poetic function -or in the terms of Paul Valery, "poietic"- of the "Museum without Walls", a function that is exercised first of all in the studio. In "Le Musée Imiginaire", Malraux approached it indirectly using a selection with commentaries of reproductions of works by Daumier: these layouts and their pictorial descriptive arragements are addressed by the first part, which take as their working hypothesis that Daumier was exemplary for Malraux. Next are considered the various modes of "Museums without Walls" used by autodidactic artist, with an exceptional visual memory, who, was, throughout his entire life a cartoonist, but also a draughtsman, painter and sculptor. The layout is transformed from one period to another in Daumier's art. It is tied to the artistic eye and the taste of several generations, whose works and visual references he caricaturized. It is traversed by major themes, while there is a resurgence, especially at the time of the great political allegories composed during the Commune and the "Terrible Year", of the memory of the initial stages of Alexandre Lenoir's Musée des Monuments Français. This article thus questions the construction of a collective artistic memory, of which the "musée imaginaire" (museum without walls) was the echo, while contributing to its anchorage. It also raises the question of the effects of working memory as long term memory on the creative processes at different stages of life.