The Paris Avant-Gardes. "A prophet is not without honor save in his own country" : A Cultural Transfert and Its Cases of Mistaken Identity - CNRS - Centre national de la recherche scientifique Accéder directement au contenu
Communication Dans Un Congrès Année : 2006

The Paris Avant-Gardes. "A prophet is not without honor save in his own country" : A Cultural Transfert and Its Cases of Mistaken Identity

Résumé

It is often asked how the various historical avant-gardes were able to persist in their avant-gardism when support from the art market was denied them out of hand. By avant-garde, we mean a position of rupture within the artistic field. How did they, even more astonishingly, succeed in gaining recognition? A comparative study of the confrontation between these avant-gardes and their publics on the international level offers, after many other studies, some answers to these questions. From the Realism of the 1850s to the virulent varieties of futurism [avenirisme] in the 1910s, artistic innovation was made possible by avant-garde painting’s physical as well as symbolic detour abroad. This detour allowed artists to remain avant-garde within the Parisian field while at the same time exporting a more saleable kind of painting. On the symbolic level, especially, the proverb that “A prophet is not without honor save in his own country” was able to provide a basis for the legitimacy of avant-garde claims about the internationalization of their careers, stirring European elites’ national guilty consciences.(1) This internationalization was rendered possible by the large range of cultural divisions among various countries: not only did one not know in one country what was being exhibited in another one, but also art was not looked upon in the same way from country to country, public expectations as well as the roles assigned to art not being the same. One could therefore work to adapt avant-garde exhibitions abroad. From the Realist period onward, the artists themselves, then increasingly their dealer friends, critics, and collectors, took charge of this vast movement of cultural transfer, but at the risk of making many compromises.
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hal-01479190 , version 1 (22-03-2017)

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  • HAL Id : hal-01479190 , version 1

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Béatrice Joyeux-Prunel. The Paris Avant-Gardes. "A prophet is not without honor save in his own country" : A Cultural Transfert and Its Cases of Mistaken Identity. Le Voyage des avant-gardes / THE VOYAGE OF THE AVANT-GARDES, Laurence Bertrand-Dorléac, Jun 2006, Paris, France. ⟨hal-01479190⟩
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