Estampe et photographie dans la collection de Gustave Moreau

• Autores: Maya Tanaka
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 182, 2013 (Ejemplar dedicado a: Musées imaginaires), págs. 53-60
• Idioma: francés
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• Resumen

  • Gustave Moreau (1826-1898) accumulated prints and photographs during the period when the use of reproductive prints was being overturned by the advent of photography. His collection, preserved in its entirety in the Musée Gustave Moreau in Paris, affers a unique opportunity to consider the respective handling of prints and of photographs by a painter in activity at the time of this turning point. Moreau dealt equally with prints and photographs, without privileging prints as a work of art. While conscious of the esthetic difference between the two techniques, the painter gave little thought to their hierarchy, often affirmed by the defenders of print. For Moreau, both were means of reproducing works of art, and photographs of works of art would play the same role as reproductive prints. Prints and photographs are not in opposition in the collection of Moreau, but are complementary. Moreau's example suggests the undoubtedly current practice during this period of collecting prints and photographs simultaneously without necessarily taking an explicit stand in the esthetic debate concerning the rivalry between the two techniques. The Moreau collection presents their similarity more than their difference.