A rough field diary in arts and in SHS :the art of a travelogue producer from the field to the paint-book

The art of a travelogue producer from the field to the paint-book : from a rough sketch to an editorial distribution

The travel is a function of travel view of the traveler and artist-made artistic journey that is moving and requires an artistic context-specific. Beyond the outlook on the country and the contribution to the knowledge of a culture, the travel book seems to summarize his iconographic rendering, that a movement in space, or even a look travel, defined as an initiatory journey to the Other and to the difference. Thus, we might ask if the travelogue can be regarded as a creation of the aesthetic to translate “the poetics of travel” and it can be considered as the indicator of symbolic values of a civilization to communicate a vision projected. Indeed, according to Ernst Gombrich [1]: “The painter does not fix what he sees but what he knows of reality” (look social and cultural) and “art does not exist only artists exist, it must pass through culture to discover the Beautiful. ” In addition, the blending artistic image reflects the vision of mixed trip, the collage is the most common technique, ie an artistic composition obtained by the juxtaposition of heterogeneous elements by their source or nature. It serves hybridity book travel cross product of two elements of different genus and species. But the travelogue is a vision of the wandering elsewhere and among other events in arts or artistic achievements. [2] Complex concepts, which also oscillate between imagined, planned, fantasized, and the physical movement or the intellectual, are conducive to artistic creation fueled by all forms of travel. Contemporary artists are rediscovering it does with the paint on the ground, the outdoor art advocated by English watercolor and impressionist? In fact, beyond the introduction of natural elements in the creation, nature itself is the object of inspiration and interventions and in the landscape. In fact, more than the trip itself, exoticism would bring creativity because the confrontation with other landmarks and cultural changes the way of thinking and the gaze of the artist. He transcribed as worldview, his eyes shocked the world, the perception of upheaval and change inside. The artist Miquel Barcelo majorquais internationally acclaimed [3], makes installation traveler, a “canoe-shop” at the heart of its creation to discover the Niger River that rises to the north-east of thousand four hundred kilometers. His studio traveler allows him to realize many travelogues, who signed his work. However, more than a travel book, it is the journey that becomes a work of art as the canoe workshop is the artistic medium of travel.

To enter the time and transform the moment of the sketch (during the journey) the rough is essential to the realization of the travel diary which recounts a journey through. Trained technical rough, most carnettistes began as “roughman” Anglicism which defines man sketch, virtuoso drawing communication agency or advertising. The rough seems a prerequisite professional as it transcribes the visual effect of an advertising campaign on drawing boards or boards with sketches intended to propose a project to the client. If the agency is selected by the latter, the creative work uses “rough in” campaign to draw and change style depending on the product and ideas of artistic director. Most carnettistes as Cathy Beauvallet, Elsie Herberstein Damien Roudeau, Troub’s, Simon, for example, daily use of sketchbooks, sketches or studies that continually exercise this ability and take note graphically or visually ideas.

Both times, the land and that the workshop can complement but also excluded. Some carnettistes, favoring rough journey, avoid to touch them later to create and preserve the value of testimony dear to their ethics traveler and artist who saw the trip as the process of the artistic process. For them, the art of travel diary exercised travel time and ends with him as Cathy Beauvallet, Jean-Loup Eve, Elsie Herberstein Giancarlo Iliprandi, Philippe Lorin, Reno Marca, Bertrand De Miollis, Damien Roudeau … Others prefer to return to their creation workshop to extend the benefits of the addition with the critical distance, the filter of memory and maturity of change and metamorphosis journey the artist’s creativity: Stefano Faravelli, Gildas Flahault, Cloe Fontaine, Geneviève Hue Ladame Sophie, Simon, Gwenaëlle Trolez … Their creative work is accompanied by readings, research, reflection to deepen travelers eyes, the eyes of the artist in the extension of the the traveler. The artist offers deferred expression then his impressions of travel. For them, two times are needed: the capture of the real and the externality on the trip, then, that the impregnation and interiority workshop then provides the artwork. Both approaches seem to open its kind on the two different concepts of time and the gestation of the work : the immediacy and duration. Are the first in the line of reporters, designers and graphic reportage but also photographers, they believe that the perception and rendering need to be closer to the authenticity of the experience, while the latter feed heritage of painters and artists who transform their thoughts and their feelings in order to feel closer to the sincerity of their creation and their artistic interpretation from reality.

[1] Researcher art historian and Director of the Warburg Institute in London in 1959, he held the chair of History of the Classical Tradition at the University of London in 1959. He was knighted in 1972 and received the Order of Merit in 1988 and numerous international awards and accolades. His book “History of Art” was published by Flammarion in 1986 and is the author of a dozen books of art history translated into French.

[2] Visions of elsewhere. Dir. Dominique Berthet. L’Harmattan, 2009; Figures wandering. Dir. Dominique Berthet. L’Harmattan, 2007.

[3] His works exhibited in various French museums (CAPC in Bordeaux, Musée des Arts Décoratifs in Paris, Centre Pompidou, Musée du Jeu de Paume, Maeght Foundation in Saint-Paul-de-Vence) and in many other galleries and American and European museums.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE d'Aquitaine) et chercheuse au sein de l'équipe du MICA (2246 - Médiation, information, communication, art) de l'université de Bordeaux Montaigne, requalifiée en SIC (2010 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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A diary of cultural heritage : a range of travelogues, different reports by travelers, of cultural heritage and and evolution

A range of travelogues, different reports by travelers, of cultural heritage and and evolution

Extract from the second part of doctoral thesis entitled “The travel reporting Journal : historical and semiotic approaches”. Pascale Argod (790 pages and corpus of 800 titles) under the direction of Professor M. Lancien, University Michel de Montaigne-Bordeaux 3, the research team GRESIC-MICA (44 EA 26), carried out in four years from 2005 to 2009 (marked “Very honorable with congratulations from a unanimous jury).

At the crossroads of artistic influences, graphic arts visual arts, but also the types of albums or illustrated books, book travel has been a real passion from both artists illustrators readers in search of news. It offers a range of views on the world and the Other that reveals the richness and variety of this medium, there appeared more than twenty years in the publishing world. This album oscillates between the tour guide and art book and seeks an original in the world of books and publishing. Through an inventory of approximately six hundred travel books, not listed as such in the database, and over nine years of Biennale, I could understand the thematic scope of the topics covered by the book’s journey ‘long journey so interested in that trip soon. Characteristics could be identified, one hand on the looks on the environment and the world and also placing it in the genre of graphic reportage.

Through geography both experienced and perceived radiation thematic book travel is extended: the look on a country, the inventory of nature, the media coverage of scientific expeditions, the national memory architecture and archeology, promotion of regional tourism. Whatever the style of travel, maritime, polar expedition, long journey, experience in the field and study space are the foundations of the work of a geographer or anthropologist who studies carnettiste the space through a geography experienced and perceived over cultural diversity. Designers naturalists also base their science on field observation illustrated taking stock of nature in order to raise awareness of biodiversity conservation. The naturalist illustrators carnettistes travel to the quest for natural beauty and publish their books in naturalistic collections that have emerged in the edition of 1991. Animal naturalists have a preference for Southern Africa and ornithology specialty is more prevalent thanks to my observation. Media coverage of scientific expeditions research is done through the online diary which interact with the arts and sciences that broadcast shipments cultural, anthropological and adventure expeditions and environmental children. Some travelogues contemporary look to the architecture and archeology to educate readers heritage through readings architects. The sketch book of architects in the form of a book of ideas, projects and rough, sometimes in the form of a book of experimental and graphics. The famous books Le Corbusier, about his trip East to Constantinople, the projects of young architects architecture graduates, carnet de voyage seems to have emulated. In fact, some are architects and illustrators carnettistes value including the urban heritage. As archaeologists, their book search may be a travelogue, as is the case for JC Golvin. Heritage declined as a guide, and it enhances regional tourism marketing and offers a clear interest in the world of publishing. Moreover, the way of Saint-Jacques de Compostela, world heritage of mankind, which is in the book Pilgrim parentage, has a passion editorial.

Palette theme of “graphic story” travel comes in all forms: war diary, photo album, BD-reportage, sketchbook press, book report, book company, mission or shipping. Thus, how to characterize each of them? The names do we travel journal or book report? Each of the books has its own language, even its own iconographic medium: drawing, photography, vignette and phylactery, cartoon … What are the common points with the travel diary? They are sub-genres of travel diary? Chronicles, diaries and war diaries, inspired by the book because of family history, are indeed limits such as “travel diary” since Renefer, Otto Dix and Mathurin Méheut leave the poignant testimony of the Trench warfare, which oscillates between chronic and illustrated diary. Law Lariston under the Occupation, and deported books offer another vision of horror. Moreover, how to locate the photo album from the travel book travel? It is very difficult to the extent that, for the price of the book Biennale of Clermont-Ferrand, this type of album has not been accepted as opposed to those with mixed media iconography. However, the Kodak Award organized by The Society of French explorers who have launched the term “Travelogue” in 1969. Trend “Scrapbooking” for customizing the album, she fits in the tradition of the travel diary? How to describe the plastic work of Peter Beard who introduced his “diary” in France at an exhibition in 1996 at the National Centre of Photography? Identified as the precursor of the Diary with his art collage, photography, photomontage, Peter Beard book yet an original vision of the genre. Painters photographers such as Tony Soulie, travelers and photographers, as Sylvain Tesson, find their way in the artistic style travel diary? Other photographers prefer to speak with a watercolorist and offer an artist’s book that crosses two eyes. The story is illustrated through graphic comics and through the travelogue. Indeed, the BD-story is launched before the travel book, in the early 80s, and recently rediscovered with the retrospective exhibition “BD Reporters” at Beaubourg. Most designers reporters lived from 1990 to 2000, a decade of success that paved the way to travel. Comics news and social reporting has gained recognition from the Angoulême festival in 2004 France Info Award of comics and news reporting. As for drawing press, it allows a critical look at the cultural difference Cabu, Patrick Chappatte Wolinsky and enhance a dash of humor. The travel “story”, signed by journalists emphasize the geopolitical and burning, especially in the Middle East, and denounce the contemporary conflicts. The value of the testimony and the violence brought by the drawing then gives a special dimension to the books reminiscent of war diaries. Books engaged social reportage, mission or shipping and are ethnographic or sociological use portraiture to promote the encounter with the other. Their size can be educational if they promote the discovery of political institutions or humanitarian missions such as “books mission.” Of documentary art book, book travel, deploying its range of tones, opens to a plural, multifaceted vision of the world and elsewhere. Its casual and formal freedom of expression blow a wind of creativity on the world of publishing.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE d'Aquitaine) et chercheuse au sein de l'équipe du MICA (2246 - Médiation, information, communication, art) de l'université de Bordeaux Montaigne, requalifiée en SIC (2010 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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