L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent
In 1915 Amédée Ozenfant founded the magazine L’Élan. For two years, it published in Paris the works of well and lesser-known artists who featured in the pre-war cubist magazines, including Derain, Dunoyer de Segonzac, Favory, Fauconnet, Laboureur, La Fresnaye, Lespinasse, Lhote, Marchand, Metzinger,...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | fra |
| Published: |
École du Louvre
2013-10-01
|
| Series: | Les Cahiers de l'École du Louvre |
| Online Access: | https://journals.openedition.org/cel/506 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1832578458037780480 |
|---|---|
| author | Hadrien Viraben |
| author_facet | Hadrien Viraben |
| author_sort | Hadrien Viraben |
| collection | DOAJ |
| description | In 1915 Amédée Ozenfant founded the magazine L’Élan. For two years, it published in Paris the works of well and lesser-known artists who featured in the pre-war cubist magazines, including Derain, Dunoyer de Segonzac, Favory, Fauconnet, Laboureur, La Fresnaye, Lespinasse, Lhote, Marchand, Metzinger, Moreau, Picasso and Severini. The magazine still has a reputation for having had turned a blind eye to contemporary events, and for having censored gory war pictures. The present article aims to reconsider this idea by demonstrating that the violence of the time had, on the contrary, profoundly affected the works of these artists. This violence, located between representation and a latent image, could thus materialise at any moment in the pages of the magazine. |
| format | Article |
| id | doaj-art-f4ee7af77bee4f27b596db5cca6a71a4 |
| institution | Kabale University |
| issn | 2262-208X |
| language | fra |
| publishDate | 2013-10-01 |
| publisher | École du Louvre |
| record_format | Article |
| series | Les Cahiers de l'École du Louvre |
| spelling | doaj-art-f4ee7af77bee4f27b596db5cca6a71a42025-01-30T13:59:46ZfraÉcole du LouvreLes Cahiers de l'École du Louvre2262-208X2013-10-01310.4000/cel.506L’image de la guerre dans L’Élan (1915-1916), un refoulement apparentHadrien VirabenIn 1915 Amédée Ozenfant founded the magazine L’Élan. For two years, it published in Paris the works of well and lesser-known artists who featured in the pre-war cubist magazines, including Derain, Dunoyer de Segonzac, Favory, Fauconnet, Laboureur, La Fresnaye, Lespinasse, Lhote, Marchand, Metzinger, Moreau, Picasso and Severini. The magazine still has a reputation for having had turned a blind eye to contemporary events, and for having censored gory war pictures. The present article aims to reconsider this idea by demonstrating that the violence of the time had, on the contrary, profoundly affected the works of these artists. This violence, located between representation and a latent image, could thus materialise at any moment in the pages of the magazine.https://journals.openedition.org/cel/506 |
| spellingShingle | Hadrien Viraben L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent Les Cahiers de l'École du Louvre |
| title | L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent |
| title_full | L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent |
| title_fullStr | L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent |
| title_full_unstemmed | L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent |
| title_short | L’image de la guerre dans L’Élan (1915-1916), un refoulement apparent |
| title_sort | l image de la guerre dans l elan 1915 1916 un refoulement apparent |
| url | https://journals.openedition.org/cel/506 |
| work_keys_str_mv | AT hadrienviraben limagedelaguerredanslelan19151916unrefoulementapparent |