{"id":5494,"date":"2013-03-28T21:58:00","date_gmt":"2013-03-28T20:58:00","guid":{"rendered":"http:\/\/www.ericbourdon.com\/news\/?p=5494"},"modified":"2019-10-02T17:18:39","modified_gmt":"2019-10-02T16:18:39","slug":"art-degenere","status":"publish","type":"post","link":"https:\/\/ericbourdon.fr\/art\/2013\/03\/28\/art-degenere\/","title":{"rendered":"Art “d\u00e9g\u00e9n\u00e9r\u00e9”… ou art d\u00e9colonis\u00e9 ?"},"content":{"rendered":"

     Initi\u00e9e d\u00e8s 1892 par l’intellectuel sioniste Max Nordau, et d\u00e9velopp\u00e9e par les nazis dans les ann\u00e9es 20, la th\u00e9orie de l’art “d\u00e9g\u00e9n\u00e9r\u00e9” \u00e9tait l’application \u00e0 l’art d’une vision culturelle proclamant et dramatisant le d\u00e9clin de la soci\u00e9t\u00e9. En 1937, une grande “exposition d’art d\u00e9g\u00e9n\u00e9r\u00e9” organis\u00e9e par le r\u00e9gime nazi \u00e0 Munich pour stigmatiser l’art moderne conna\u00eetra un tel succ\u00e8s populaire que Joseph Goebbels (ministre de la propagande), exasp\u00e9r\u00e9, n’aura d’autre choix que de la faire fermer…<\/p>\n

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\"Pablo<\/div>\n

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     Alors que Nordau d\u00e9non\u00e7ait \u00e0 la fin du si\u00e8cle pr\u00e9c\u00e9dent le m\u00e9pris pour les “valeurs traditionnelles des usages et de la moralit\u00e9”<\/strong>, m\u00e9pris g\u00e9n\u00e9r\u00e9 autant que refl\u00e9t\u00e9 par l’art, les nazis reprochaient \u00e0 l’art de s’\u00e9loigner de la norme psychologique, sociale et visuelle d’un art dit “h\u00e9ro\u00efque” en accord avec la “beaut\u00e9 classique”<\/strong>. Goebbels affirmait \u00e9galement que la cr\u00e9ation artistique devait “se maintenir dans les limites qui lui sont inspir\u00e9es par une notion d’essence politique<\/strong> et non par une notion d’essence artistique” (cf Lionel Richard, Nazisme et Litt\u00e9rature<\/em>, F. Masp\u00e9ro, p.47).<\/p>\n

     En 2007, le cardinal allemand (catholique) Joachim Meisner fera scandale en employant \u00e0 nouveau l’expression d’art “d\u00e9g\u00e9n\u00e9r\u00e9” \u00e0 propos de l’art “qui se s\u00e9pare de la religion”<\/strong>…<\/p>\n

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     Dans tous les cas, la notion de ‘d\u00e9g\u00e9n\u00e9rescence’ subtilis\u00e9e \u00e0 l’univers m\u00e9dical a d\u00e9voil\u00e9 malgr\u00e9 elle une d\u00e9g\u00e9n\u00e9rescence bien r\u00e9elle : celle des liens de soumission de l’univers artistique \u00e0 des univers qui lui sont ext\u00e9rieurs. Ainsi, l’art vu comme n\u00e9cessairement inf\u00e9od\u00e9 \u00e0 la morale a paru d\u00e9g\u00e9n\u00e9rer, en tant qu’art, lorsqu’il a perdu de vue une quelconque ‘mission’ morale : inspirer la noblesse des sentiments, la coh\u00e9sion de la soci\u00e9t\u00e9… De m\u00eame lorsque ses attaches aux traditions et usages se sont dissoutes, et encore lorsque la norme d’une ‘beaut\u00e9 classique’ n’a pu \u00eatre remont\u00e9e des bas-fonds vaseux d’une Histoire trop fantasm\u00e9e… Nul ne se doutait qu’en 2007 il se trouverait encore un cardinal m\u00eame int\u00e9griste qui redouterait la d\u00e9g\u00e9n\u00e9rescence de la mission ‘religieuse’ de l’art ; on croyait le cordon coup\u00e9 et dig\u00e9r\u00e9 par les vers depuis la nuit des temps…<\/p>\n

     Comme le Ph\u0153nix, c’est au travers de ces multiples et continuelles ‘d\u00e9g\u00e9n\u00e9rescences’ apparentes – et r\u00e9elles d\u00e9colonisations<\/em> en fait – que les arts, et la peinture en particulier, se sont progressivement lib\u00e9r\u00e9s des anciennes et \u00e9trang\u00e8res ali\u00e9nations, des entreprises de colonisation politique ou religieuse, des r\u00f4les anciens et us\u00e9s auxquels on a pu les soumettre, et de leur propre paralysie, pour ne reconna\u00eetre au final que des objectifs artistiques, et ne retenir, par exemple, dans le travail pictural, que les crit\u00e8res de cr\u00e9ativit\u00e9 visuelle et graphique.<\/p>\n

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Peinture : Pablo Picasso, “Femme \u00e9crivant”, 1934.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

     Initi\u00e9e d\u00e8s 1892 par l’intellectuel sioniste Max Nordau, et d\u00e9velopp\u00e9e par les nazis dans les ann\u00e9es 20, la th\u00e9orie de l’art “d\u00e9g\u00e9n\u00e9r\u00e9” \u00e9tait l’application \u00e0 l’art d’une vision culturelle proclamant et dramatisant le d\u00e9clin de la soci\u00e9t\u00e9. En 1937, une grande “exposition d’art d\u00e9g\u00e9n\u00e9r\u00e9” organis\u00e9e par le r\u00e9gime nazi \u00e0 Munich pour stigmatiser l’art moderne […]<\/p>\n","protected":false},"author":67,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[146,18,130],"tags":[],"class_list":["post-5494","post","type-post","status-publish","format-standard","hentry","category-analyses","category-peinture","category-portraits"],"yoast_head":"\nArt "d\u00e9g\u00e9n\u00e9r\u00e9"... ou art d\u00e9colonis\u00e9 ? | Eric Bourdon<\/title>\n<meta name=\"description\" content=\"Le retour de la notion d'art "d\u00e9g\u00e9n\u00e9r\u00e9". 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