Abstracts
Résumé
L’historiographie nous a transmis l’image d’Horatio Walker comme celle d’un artiste en harmonie avec le milieu rural de l’île d’Orléans où la figure tutélaire de Jean-François Millet n’est jamais loin. Notre objectif est d’inverser ce regard en explorant le seul milieu de vie où s’est jouée sa carrière durant plus de trente ans : l’île de Manhattan. À partir d’une analyse des lieux d’exposition, de la position singulière de Newman Montross et de l’émergence d’une critique d’art professionnelle, on voit se réaliser la volonté de Walker de réussir et de se faire un nom. Selon une dynamique complexe entre la proximité et la distance – géographique, sociale et artistique –, il occupe une place singulière dans la visibilité et le contrôle de ses oeuvres. En cela, il a bien compris que, pour faire carrière et durer à New York, l’artiste doit établir une nette distinction entre créer et commercialiser ses oeuvres.
Mots-clés :
- Montross Gallery,
- Marché de l’art,
- Critique d’art,
- Vie paysanne
Abstract
Historiography has given us the image of Horatio Walker as an artist in harmony with the rural environment of the île d’Orléans, where the tutelary figure of Jean-François Millet is never far away. Our objective is to reverse this view by exploring the only living environment where his career was at stake for more than thirty years: the Island of Manhattan. Based on an analysis of exhibition spaces, the singular position of Newman Montross, and the emergence of professional art criticism, we see Walker’s desire to succeed and make a name for himself come true. Through a complex dynamic between proximity and distance – geographical, social, and artistic – he occupies a unique place in the visibility and control of his works. In this, he understood that to have a career and last in New York, the artist must establish a clear distinction between creating and marketing his works.
Keywords:
- Art market,
- Montross Gallery,
- Art criticism,
- Rural life
Appendices
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