Au seuil de l’École de Tunis

On the occasion of the inauguration of the first gallery founded by artists in Tunis, the painters Moses Levy, Pierre Boucherle, Antonio Corpora and Jules Lellouche published in 1936 a manifesto affirming their autonomy, beyond mercantile logics and national assignments. However, a national reading...

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Main Author: Alain Messaoudi
Format: Article
Language:deu
Published: Bern Open Publishing 2021-04-01
Series:Manazir Journal
Subjects:
Online Access:https://bop.unibe.ch/manazir/article/view/7721
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author Alain Messaoudi
author_facet Alain Messaoudi
author_sort Alain Messaoudi
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description On the occasion of the inauguration of the first gallery founded by artists in Tunis, the painters Moses Levy, Pierre Boucherle, Antonio Corpora and Jules Lellouche published in 1936 a manifesto affirming their autonomy, beyond mercantile logics and national assignments. However, a national reading of their works prevailed in the press, at that time. This article proposes to put this founding event of the « École de Tunis » into context, by reinscribing it in a century-old history. This past is marked by the presence of French and Italian artists between 1840 and 1880, by the failure of a policy of asserting a French artistic model with an aborted project for a French museum around 1890, and by the affirmation of an artistic life characterised since the 1910s by its pluralism and even its eclecticism. This article thus intends to contribute, through the example of pictorial production, to the historicisation of discourses on the plurality or cultural identity of Tunisia, which are still today objects of debate.
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spelling doaj.art-2d9d8d014b4148bab36624e5354a613b2022-12-21T22:43:20ZdeuBern Open PublishingManazir Journal2673-43542021-04-01210.36950/manazir.2020.2.6Au seuil de l’École de TunisAlain Messaoudi0Associate Professor in Modern History, University of Nantes/CRHIAOn the occasion of the inauguration of the first gallery founded by artists in Tunis, the painters Moses Levy, Pierre Boucherle, Antonio Corpora and Jules Lellouche published in 1936 a manifesto affirming their autonomy, beyond mercantile logics and national assignments. However, a national reading of their works prevailed in the press, at that time. This article proposes to put this founding event of the « École de Tunis » into context, by reinscribing it in a century-old history. This past is marked by the presence of French and Italian artists between 1840 and 1880, by the failure of a policy of asserting a French artistic model with an aborted project for a French museum around 1890, and by the affirmation of an artistic life characterised since the 1910s by its pluralism and even its eclecticism. This article thus intends to contribute, through the example of pictorial production, to the historicisation of discourses on the plurality or cultural identity of Tunisia, which are still today objects of debate.https://bop.unibe.ch/manazir/article/view/7721Tunisian PaintingNational ModelsÉcole de TunisGalerie de l'art nouveauMoses Levy
spellingShingle Alain Messaoudi
Au seuil de l’École de Tunis
Manazir Journal
Tunisian Painting
National Models
École de Tunis
Galerie de l'art nouveau
Moses Levy
title Au seuil de l’École de Tunis
title_full Au seuil de l’École de Tunis
title_fullStr Au seuil de l’École de Tunis
title_full_unstemmed Au seuil de l’École de Tunis
title_short Au seuil de l’École de Tunis
title_sort au seuil de l ecole de tunis
topic Tunisian Painting
National Models
École de Tunis
Galerie de l'art nouveau
Moses Levy
url https://bop.unibe.ch/manazir/article/view/7721
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