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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