De l'orientalisme à l'art colonial : les peintres français au Maroc pendant le Protectorat (1912-1956)

Abstract : Through the study of French painters gone to Morocco during the Protectorate, this thesis reviews the structures and the emergence of Colonial art, which followed Orientalism at the turn of the century. Far from being an isolated phenomenon, hundreds of artists stayed in this country during the colonial period. The journey is motivated and even sometimes founded by artistic metropolitan societies and by colonial governments. In Paris, Salons and exhibitions such as World's Fairs and Colonial exhibitions dedicate specific areas to works on the colonies. Many artists, critics or curators also attempt to demonstrate how Colonial art can be useful to colonial propaganda. After outlining the French painters’ Moroccan experience, the main artistic and cultural occidental institutions during the Protectorate will be presented. Colonial art continues to represent some Orientalist themes but integrate them with more restraint, moderation and realism. Moroccan colonial iconography can be distinguished from the other colonies by the amount of work dedicated to horse riders, to Berbers and to historical monuments. This particularity is partly due to the cultural policy pursued by Lyautey, to the development of Moroccan ethnography and to the specific goals targeted for Colonial art. This analysis is followed by a dictionary of the artists corpus.
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Marlène Lespes. De l'orientalisme à l'art colonial : les peintres français au Maroc pendant le Protectorat (1912-1956). Art et histoire de l'art. Université Toulouse le Mirail - Toulouse II, 2017. Français. ⟨NNT : 2017TOU20098⟩. ⟨tel-02311371⟩

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