HUYSMANS' EYE: MANET, DEGAS, MOREAU STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 / 17 JANUARY 2021 - Musées de Strasbourg
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HUYSMANS' EYE: MANET, DEGAS, MOREAU… STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 / 17 JANUARY 2021 Press Relations Museums Communication Department Julie Barth julie.barth@strasbourg.eu tel. 03 3 68 98 74 78 Press kit and visuals downloadable at: www.musees.strasbourg.eu │
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 1. EXHIBITION PROJECT PAGE 2 2. EXHIBITION ITINERARY PAGE 3 3. JORIS-KARL HUYSMANS CHRONOLOGY PAGE 9 4. SELECT BIBLIOGRAPHY PAGE 12 5. HUYSMANS' WRITINGS: EXTRACTS PAGE 14 6. LIST OF LENDERS PAGE 17 7. PUBLICATIONS PAGE 18 8. EDUCATIONAL AND CULTURAL EVENTS PAGE 20 9. PARTNERS PAGE 23 10. VISITOR INFORMATION PAGE 24 11. PRESS VISUALS PAGE 25 1
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 1. Exhibition Project The MAMCS exhibition, held in partnership with the Musée d'Orsay, lays a trail through the work of the writer Joris-Karl Huysmans (1848-1907). It presents the writings, works and objects that together contributed to forging the different worlds he inhabited, seen in a turn-of-the-century perspective hovering between a fascination with progress and a morbid curiosity for the occult. A noted figure of Naturalism (considered as "Zola's spiritual son"), the chronicler of a rapidly changing Paris, an enlightened art critic, Decadent author and Catholic writer – Huysmans was all these at once. The roles were not mutually exclusive, but superimposed like so many layers of glaze under the brush of an Italian Primitive. "Exhibiting" Huysmans is a challenge, because such a project involves bringing together widely contrasting works, objects and writings: Edgar Degas' flesh-tints and Félicien Rops' shadows, precious volumes and medical treatises, elegant perfumes and knick-knacks. Huysmans is a word-hoarder and – regardless of what he is writing, whether it be newspaper articles, novels or personal correspondence – he offers his reader dazzling inventories woven from colours, materials and sensations. A complementary and enriched version of the project developed by the Musée d'Orsay, this exhibition is designed as a series of paintings, each with its own atmosphere. It is arranged in ten rooms going from a boudoir to a Paris street, from the Paris Salon to a description of the home of Des Esseintes, the iconic hero of À Rebours (1884), and includes the favoured subjects of Huysmans' last years, architecture and religious art. The visitor is invited to discover a world in which disparate topics rub shoulders: modernity (as seen by Huysmans) and Latin decadence, the Issenheim altarpiece and the Folies-Bergères, dream and melancholy. The exhibition brings together a number of prestigious loans. It presents more than 440 works and artefacts coming from the Orsay and Orangerie museums (Manet, Degas, Moreau, Caillebotte, Pissarro, Gervex, Bouguereau ...), the National Library of France, the Paris Arts and Crafts Museum, the Museum of European and Mediterranean Civilizations (Mucem, Marseille), and in Strasbourg the National and University Library, the Garden of Sciences and the Museums of Strasbourg. Exhibition Curator: Estelle Pietrzyk, Chief Heritage Curator, Directress of MAMCS. The Strasbourg lap of this exhibition has benefited from the expertise of Robert Kopp, Professor of French literature, University of Basel. Exhibition being held by the Museums of the City of Strasbourg and the museums of Orsay and l'Orangerie, Paris, with the exceptional assistance of the Bibliothèque Nationale de France and the Bibliothèque Nationale et Universitaire de Strasbourg. This exhibition benefits from the exceptional support of the Eurometropole de Strasbourg and the support of Lubin Perfumes. 2
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 2. Exhibition Itinerary Prelude "... [Des Esseintes] had given a funeral dinner. Draped in black, the dining room opened on to a garden transformed for the occasion, the paths being strewn with charcoal dust, the ornamental pond edged with black basalt and filled with ink and the shrubberies replanted with cypresses and pines. The dinner itself was served on a black cloth, decorated with baskets of violets and scabious [...]" This description of the funeral dinner given by Des Esseintes in À Rebours (Against the Grain, 1884) represents a high point of Decadent aesthetics, for which the novel became a veritable textbook. Our exhibition opens with a work that can readily be associated with this memorable episode. Many Spoken Words (2009), by the contemporary Luxembourg artist Su- Mei Tse (born in 1973 and trained as a musician) is a bizarre yet superb fountain, endlessly gushing black-tinted water. It suggests the artist's musical training and her interest in sound. With a sure sense of staging, Su-Mei Tse embarks on a series of poetic subversions, inciting us to reflect on time or to contemplate and question objects and situations. This is the first of the exhibition's contemporary references. The Comfit Box "He made his debut with a mediocre collection of prose poems, entitled Le Drageoir aux Épices (The Comfit Box)." Thus, under the pen name of A. Meunier, does Huysmans present his beginnings in Les Hommes d’Aujourd’hui (The Men of Today) in 1885. Whether real or feigned, such self-deprecation was scarcely justified: the manuscripts preserved (loaned for the exhibition by the Bibliothèque Nationale de France) are evidence of the great concern for form given to this book. In addition to prose poems with evocative titles (Rococo Japonais, Camaïeu Rouge, L’Extase), the collection contains short narratives (Claudine), monographs of fictional painters (Adrien Brauwer, Cornélius Béga), strolls through Paris (La Rive Gauche), pastiches (Variation sur un Air Connu) and art transpositions (La Kermesse de Rubens). The dedicatee of Baudelaire's Petits Poèmes en Prose, Arsène Houssaye, was not wrong to describe the collection as a "little curiosity cabinet". The first exhibition room displays what are described in the book's dedication as the "little ornaments", the "frills and flounces" that went to make up the world of the young clerk from the Ministry of the Interior dreaming of colours or materials, Dutch landscapes or Japanese curios, Queen Margot or kippers. A crystal comfit box, improbable table bells, bonbon dishes, old engravings are arranged in a circle around portraits of the writer by Forain, Vallotton or André Breton, some dating from his lifetime, others posthumous. Parisian Sketches Huysmans liked to present himself as "an unaccountable mixture of refined Parisian and painter from Holland". Born a stone's throw from Notre-Dame in an old house in the Latin Quarter, he spent his life endlessly pacing the length and breadth of his cherished city and painting it after the manner of Rembrandt or Jan Steen. In his bohemian student days, he frequented theatres and dance halls, falling in love with an actress from the famous Bobino music hall, and acclaiming her in his very first reviews. As evidence the of the French capital's vitality at the time, the "Parisian Sketches" room displays a large collection of period posters from the MAMCS collection, depicting the world of entertainment and literature or advertisements for everyday objects. Later, when he was a "sixth grade" employee at the French Ministry of the Interior, he became a chronicler of important developments in the Paris of his time. While distressed by Haussmann's demolitions, he was impressed by the grandiose quality of the 1889 Universal Exhibition and he expressed his enthusiasm for the new, eminently modern, iron-frame architecture. But above all, 3
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 his sympathy went to places that seemed made for dreaming: the Bièvre, a stricken little river soon to disappear, the humble alleys of the suburbs and Paris' old districts and cafés, his descriptions of their habitués anticipating those of today's sociologists. Huysmans at the Salon "Of the 3,040 paintings included in the brochure, not a hundred are worth taking seriously," was Huysmans' peremptory declaration on completing his visit to the Salon in 1879. Established by the French Royal Academy of painting and sculpture under Louis XIV, the Salon had quickly become an essential event. From the time of Diderot onwards, reviewing the Salon became a literary pursuit soon to be cultivated by writers like Stendhal, Théophile Gautier, Baudelaire, the Goncourt brothers, Zola and of course Huysmans himself, who became a regular and at times implacable chronicler of the event. The present exhibition room gives us an idea of this annual rendezvous, in which thousands of works displaying great disparity of genre, style and indeed talent were exhibited in closely serried rows. The imaginary "Salon" devised for our exhibition juxtaposes several actual salons (both official and independent ones) bringing together a series of exceptional works, with Huysmans' loves and hates coexisting in the same perspective. Merciless towards established figures (his review of Bouguereau's Birth of Venus is a choice specimen of his corrosive critical style), Huysmans in contrast praises painters who have a "concern for contemporary life", giving pride of place to Degas, Caillebotte and Raffaëlli. Decadent Affinities Decadents, Symbolists, poètes maudits ... The final decades of the 19th century saw the emergence of a disparate cluster of writers in whom Huysmans took an active interest. Some of the authors he places in Des Esseintes' "ideal" decadent library were also his friends. While Baudelaire is the all-enfolding tutelary guardian of À Rebours, there are tributes to the Verlaine of the Sagesse poems, to Goncourt's La Faustin, to Mallarmé's L'Après-Midi d'un Faune, Flaubert's Tentation de Saint Antoine and to Villiers de L’Isle-Adam. All these were writers whom Huysmans encountered every week – at Mallarmé's "Tuesdays", the Goncourts' "Grenier" or his own more intimate suppers in his home at 11 rue de Sèvres. Jean Lorrain, an eccentric reveller of fin-de-siècle Paris, drew heavily on the style of À Rebours for his Monsieur de Phocas. Robert de Montesquiou, on the other hand, a dandy, collector and poet, never forgave Huysmans for using him as a model for Des Esseintes and making him the archetype of the decadent æsthete. The Art of Nuance Published in 1884, À Rebours marked a break with Naturalism and a turn to the "artistic writing" favoured by the Goncourt brothers. In this book, described in Wilde's Portrait of Dorian Gray as "poisonous", Huysmans relates the neuroses of the anti-hero Count Jean Floressas des Esseintes. Reduced to nervous asthenia by the vanity of all things, Des Esseintes retires to a meticulously laid-out dwelling "far from the world" (echoing the title of one of Baudelaire's Petits Poèmes en Prose, ) –actually, Fontenay-aux-Roses is only ten kilometres away from Paris – and finds consolation for his melancholy in his collections of works of art, books and precious objects. Huysmans delights in describing hangings, tapestries and furniture, as well as the hero's numerous whims, always in search as he is of an exact shade, a particular savour or a precise nuance. This retreat, supposedly protecting him from the boredom and mediocrity of the world, becomes a setting for extreme aesthetic and sensory experiences, all related in a language of unique precision. Like a colourist painter, Huysmans moves from carmine to vermilion, from Cassius purple to wine lees, from a "raw meat" shade to Saturn red. Like Strindberg's "Red Room", this exhibition room presents collections of objects from the world of technical culture, such as the colour charts used by textile manufacturers and the palettes used by enamel painters, as well as a selection of late 19th century wallpapers. The room also contains a "little theatre" enacting the dialogue between the Sphinx and the Chimera, 4
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 in which Des Esseintes hires a ventriloquist to recite through the creatures' mouths, as it were, an extract from Gustave Flaubert's La Tentation de Saint Antoine (1874). Finally, the room presents the second contemporary work of art acquired for the exhibition. This is a cabinet of curiosities, The Unruly Collection by the North American artist Mark Dion (born in 1961). It brings together forty-three supposedly "natural" curiosities. In fact, all are by the artist's hand. In Praise of Artifice and Sensation With À Rebours, Huysmans carried to their extremes Baudelaire's "correspondences" in which "perfumes, colours and sounds echo each other". Progressively losing touch with reality, Des Esseintes becomes intoxicated with sophisticated sensations and aesthetic pleasures. Perfumes, liqueurs, silky materials and precious objects fill the home of the hero of À Rebours, who is also an informed bibliophile and collector of works of art. In this room, the visitor is invited to smell the perfumes experienced in Huysmans' home with the help of an olfactory device recalling Des Esseintes' "perfume organ." This has been specially recreated for the exhibition by Maison Lubin, already Huysmans' supplier at the time. Thus, at the exhibition's mid-point, Heliotrope, Opoponax, Patchouli, Tea Rose and the inimitable Frangipani provide a moment of pure synesthesia. As regards paintings, we may note that in his fervent admiration for Gustave Moreau, the creator of "enchantments hatched in the brain of an opium eater", Huysmans' vision as a novelist and art critic coincides with that of his fictional counterpart. The Apparition (1875) gives rise in the novel to a long reverie. Here in the exhibition, it is Galatée (1880) which illuminates a room also displaying several drawings from nature by Gustave Moreau, accompanied by aquatic plants, corals and other specimens which were his models (all from the Strasbourg Zoological Museum collections). Hoarding not only works of art, but treasures and curiosities of all kinds in a home which had become an improbable museum designed for his own personal delectation, Des Esseintes soon tired of objects that quickly lost their bloom, resorting to artefacts of all kinds. Simulated nature took on greater value than nature itself and artifice came to be conceived as "the hallmark of human genius." Here, the passion for artefacts is illustrated by the mock stones prized by the late 19th century, textile blossoms and an amazing bouquet of porcelain flowers. In Praise of Artifice © FCS workshop - Frédéric Casanova Scenographer A Taste for the Uncanny "All fins-de-siècles are alike" wrote Huysmans in Là-Bas (1891). Here, he is expressing a characteristic late 19th century dilemma, a conflict between the impression of having used up all the resources of the dying century and a quest, no doubt vain, for a new modernity. Plunging 5
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 into the uncanny in search of new sensations is also something that attracts Des Esseintes. Like the book's author, the decadent hero of À Rebours is closely interested in the interpretation of dreams, in the new treatments for neuroses or the beginnings of psychiatry. Huysmans, deeply concerned by the nervous illness of his partner, Anna Meunier, ("Louise" in En Rade, 1887), studied a number of medical treatises. The book, whose chapters alternate real episodes with dreams or nightmares, serves here as the basis for an imaginary journey across the moon, represented by a lunar globe from Strasbourg's Jardin des Sciences collection. In the realm of art, it was Odilon Redon who best embodied this longing for the far-off, considered by Huysmans as "a fantasy world of sickness and derangement". Indeed, his series of prints (Hommage à Goya, Sur le Rêve, Edgar Poe), cherished by their admiring critic Huysmans, project an imaginative world of shadowy symbolism that seems an echo of Des Esseintes' nightmares. A Taste for the Uncanny © FCS workshop - Frédéric Casanova Scenographer Occult Experiments While En Rade (1887) is a novel of dreams and the unconscious, Là-Bas (1891) is one of Satanism. Seeking a remedy for the "purulence of a repulsive age", Huysmans set out in search of knowledge that men have attempted to acquire from time immemorial through witchcraft, black magic, esotericism, astrology, clairvoyance and the occult sciences. He thus made his hero set out to write a biography of Gilles de Rais, whose hideous crimes made the Marquis de Sade seem "a mere timorous bourgeois". In this room can be seen Félicien Rops' darkest and most blasphemous engravings, while a tarot deck, an alchemy primer and jars of ingredients for obscure preparations suggest the late 19th century fascination with the occult. Added to these are books by Barbey d'Aurevilly (Les Diaboliques) and Le Sâr Peladan evoking the fascination with Satanism on which Huysmans had gathered considerable documentation in writing his novel. 6
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 Occult Experiments © FCS workshop - Frédéric Casanova Scenographer Spiritual Upliftings After writing À Rebours, Huysmans found himself in an existential impasse. The writer Barbey d'Aurevilly says that he was left with the choice "between the muzzle of a pistol and the feet of the cross." He chose the cross. After writing Là-Bas, devoted to the occult, Huysmans turned to Christian mysticism. In En Route (1892), he describes the difficult conversion to catholicism of his fictional persona Durtal which, like his own, takes place after several retreats in a Trappist monastery. After Là-Bas and its descent into hell, Huysmans attempts the ascent towards God. He haunts churches and is enraptured by Gothic architecture. The cathedrals of Paris, Chartres, Reims, Strasbourg, the Église Saint-Séverin, all are shrines of "total art" where the soul can climb to the heights, uplifted by slender pillars, incense, and the divine melody of plain-song of which Huysmans was a fervent admirer and a learned commentator. The church, "a mass of stone with a strictly spiritual destination" (Paul Valéry), materialised a dreamt-of refuge for senses and spirit alike. Here, at last, Huysmans had found "chlorine for his soul". Art as Religion As the fictional abbé of En Route rightly observes, "It is quite certain that Art was the main agency used by the Saviour to instil faith into us". What inspired Huysmans' conversion was above all his love of Christian art and the delight he took in religious architecture and music. His spiritual life was influenced by the works of the so-called "Primitives" and he revered religious artists of the 15th and 16th centuries like Memling, the "Master of Flémalle", Fra Angelico or Rogier van der Weyden. But his greatest revelation was the work of Matthias Grünewald, a Rhineland painter from the same period. Here was proof for Huysmans that mind could dwell in the very heart of matter. To the old masters were added contemporary painters admired by the writer. Charles-Marie Dulac's mystical landscapes and Odilon Redon's visions acted as "springboards" for his inward raptures. Followed by a community of artist and writer friends, Huysmans even became an oblate in the monastic community of Ligugé in the Vienne department, an episode related in the eponymous novel The Oblate of St. Benedict. Even as they continued to lead their everyday existences, for several years they immersed themselves in the abbey's spiritual life. Huysmans died in 1907 of cancer of the jaw causing him terrible pain. His last writings were entirely concerned with his relation to mysticism (Sainte Lydwine de Schiedam, 1901), Les Foules de Lourdes (1906). The exhibition's final flourish is a plethora of books, in particular a 7
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 French manuscript translation of Saint Augustine's City of God, a treasure from the Strasbourg University Library specially loaned for the exhibition. Exhibition Scenography Designed by F.C.S., the Frédéric Casanova scenography workshop, the Huysmans' Eye scenographic project aims to achieve a fluid succession of changing moods, with Huysmans' writing as the central element. This itinerary eschews the hierarchy of genres, celebrating both the masterpiece and the modest object and giving maximum visibility to the author's writings, which are at the heart of the exhibition project. The exhibition is in fact built around Huysmans' writings and, in particular, around his idiosyncratic habit of putting together "catalogues" in which the most disparate elements rub shoulders: outstanding works of art and obscure ones, precious objects and knick-knacks, rare volumes and run-of- the-mill editions. It is the writer's style that allows us to slip easily from one subject to another; whether in the role of art critic, novelist or letter writer, his style is inventive and the words always carefully chosen. Mounting an exhibition about a writer means facing the challenge of bringing his writings to life, identifying their distinctive quality. Working in tandem with the curator, the scenography team has set out to achieve this by giving visitors the chance to experience a real "encounter" with Huysmans' writing. The exhibits are thus accompanied by extracts of varying length from Huysmans' critical reviews, novels and correspondence. However fleetingly the visitor may feel inclined to take these in, Huysmans' writing is not just a background to the objects, be they masterpieces or mere artefacts. It forms the cornerstone of the exhibition. The scenographic project invites the visitor to perceive the different spatial experiences as so many facets of Huysmans' writing: the room of the Comfit Box, for example, is a kind of boudoir, the setting of the Parisian Sketches is a Paris street, while the works gathered around the novel À Rebours summon up the muted atmosphere of a domestic interior. Books of all kinds can be found throughout the exhibition: from the novel to the medical treatise, from the horticultural manual to the slang dictionary, they give us glimpses of Huysmans' methods (not to mention his idées fixes) and tireless, even obsessive, research into his subjects. Thus the "niches" found at several points in the exhibition are like miniature libraries, their contents chosen as much for the beauty of editions prized by our author as for their titles. The scenography also brings us “little scenes”, disparate objects creating Huysmansian encounters occurring within the same visual field: a lunar globe and different kinds of medicine; Gustave Moreau's Galatée and a collection of corals; botanical plates side-by-side with illustrations of the initial symptoms of syphilis. The exhibition procures a multi-sensory experience. Not only does it catch the visitor's eye, with shades ranging from old rose to heady carmine, but our sense of smell is stimulated by Huysmans' treasured perfumes and there are even "audio sources" to beguile the ear. Through the senses, it gives access to the writer's world and invites us to a contemporary reading of a major literary work, to be shared by all. 8
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 View of the exhibition rooms © FCS workshop - Frédéric Casanova Scenographer ExpériMAMCS ! Inside the Mind of a Spellbinder A teeming imagination, eclectic references, a thirst for sensation: how are we to picture that improbable "image machine", Huysmans' brain, and get inside the head of a compulsive hoarder of objects, words and impressions? The immersive space designed by our educational and cultural staff to introduce or prolong the exhibition seeks to conjure up the multiple sources of the author's inspiration and his many obsessions. Through a series of contrasting sensory experiences, visitors young and old will be able to to see, feel, touch or hear "fragments" of Huysmans' world. 9
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 3. Joris-Karl Huysmans: Chronology 1848: Charles Marie Georges Huysmans born on 5 February at 11 rue Suger in Paris. His father, Victor Godfried Jan Huijsmans, was an engraver and miniaturist from a family of Dutch artists and his mother, Malvina Badin, a schoolmistress. 1856: Godfried Huysmans dies on June 24. In the following year Malvina marries a businessman name Jules Og and settles with her children at 11 rue de Sèvres. 1866: Having taken a law degree, he enters the French Ministry of the Interior as a 6th grade clerk. He is to spend his entire career here. 1867: Publication of his first article "Contemporary Landscape Artists" in La Revue Mensuelle, following his visit to the Exposition Universelle. 1870: Enlisted in the Garde Mobile de la Seine during the Franco-Prussian War of 1870. Afterwards evacuated with dysentery from the military camp at Châlons-sur-Marne. 1874: Le Drageoir à Épices published at the author's expense, under the pen name Joris-Karl Huysmans, and re-published in the following year as Le Drageoir aux Épices. 1875: Beginning of his activity as an art critic. 1876: First of a series of articles on the Paris Salons, which he continued to write almost every year until 1887. 1876 : Huysmans inherits his mother's bookbindery on her death. Huysmans' first novel, Marthe, The Story of a Street Girl, links him with Zola's Naturalist movement. 1879: Publication of his second novel, Les Sœurs Vatard, and his article on the Salon of 1879. 1880: Publication of the short story "Rucksack" in Soirées de Médan and of a collection of prose poems, Parisian Sketches, in an edition illustrated by Forain and Raffaelli. 1881: Huysmans goes into convalescence in a house in Fontenay-aux Roses which will serve as a model for Des Esseintes' home in À Rebours. 1883: L’Art Moderne brings together articles from Huysmans' art criticism published in the press between 1879 and 1882. 1884: With the novel À Rebours, Huysmans distances himself from Naturalism, opening the way to Decadentism. 1888: Stay in Germany, with his friend Arij Prins, where he discovers Grünewald's Crucifixion. 1891: The novel Là-Bas is published in serial form in L’Écho de Paris. Durtal, the hero, explores the circles of late-century Parisian occultism. 1892: On the advice of Abbé Mugnier, first retreat with the Trappist monks of Notre-Dame d’Igny in the Marne. 1893: Second retreat at Notre-Dame d'Igny. Huysmans appointed Chevalier de la Légion of d'Honneur. 10
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 1895: Huysmans' companion Anna Meunier dies after a long illness, possibly syphilis. En Route marks Huysmans' conversion to Catholicism. 1898: After thirty years at the Ministry of the Interior, Huysmans retires from his post as honorary office manager. Publication of the second part of the Catholic trilogy, La Cathédrale, threatened with being placed on the Church's index of forbidden books. 1899: Huysmans settles in Ligugé. 1900: "Dressing" ceremony as an Oblate. Huysmans becomes the first president of the newly created Goncourt Academy. 1901: Huysmans returns to settle in Paris following the exile of the Ligugé monks to Belgium. 1903: Stays in Lourdes and then in Germany, where he discovers Strasbourg and Grünewald's Isenheim altarpiece at the museum in Colmar. 1904: Publication of the art chronicles Trois Primitifs. 1906: Publication of the monograph Les Foules de Lourdes. 1907: Huysmans dies from cancer of the jaw on May 12, at 31 rue Saint-Placide. A large crowd follows the funeral procession to the Montparnasse cemetery where the writer is buried. 11
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 4. Select Bibliography Main Works • Le Drageoir à épices, 1874 • Marthe, histoire d’une fille, 1876 • Les Sœurs Vatard, 1879 • Sac au dos, 1880 • Croquis parisiens, 1880 • En ménage, 1881 • À vau-l’eau, 1882 • L’Art moderne, 1883 • À rebours, 1884 • En rade, 1887 • Un dilemme, 1887 • La Retraite de monsieur Bougran, 1964 • Certains, 1889 • Là-bas, 1891 • En route, 1895 • La Cathédrale, 1898 • La Bièvre et Saint-Séverin, 1898 • Sainte Lydwine de Schiedam, 1901 • De tout, 1901 • L'Oblat, 1903 • Trois Primitifs, 1905 • Les Foules de Lourdes, 1906 • Trois Églises et Trois Primitifs (posthume), 1908 Œuvres Complètes de J.-K. Huysmans, edition established by Charles Grolleau, under the supervision of Lucien Descaves, Paris, Crès, 1928-1934, 23 vol. Available in bookshops - "Bibliothèque de la Pléiade" series (Gallimard) : Marthe, Les Sœurs Vatard, Sac au Dos, En Ménage, A Vau-l’Eau, À Rebours, Un Dilemme, En Rade, Là-Bas, En Route. - "Folio" Series (Gallimard) : À Rebours, En Rade, Là-Bas, En Route, La Cathédrale - "GF" series (Flammarion) : À Rebours, Là-Bas, Nouvelles, Les Soirées de Médan, Écrits sur l'Art - "Poésie" Series (Gallimard) Le Drageoir aux Épices, followed by Croquis Parisiens Summary Bibliography BALDICK, Robert, La Vie de Joris-Karl Huysmans, orig. angl., 1955, Marcel Thomas (trad.), Paris, Denoël, 1958 BONNET, Gille, L’Écriture comique de J.-K. Huysmans, Paris, Champion, 2003 BORIE, Jean, Huysmans, le Diable, le célibataire et Dieu, Paris, Grasset, 1991 12
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 COGNY, Pierre, J.-K. Huysmans à la recherche de l’unité, Paris, Nizet, 1953 HUYSMANS, Joris-Karl, Romans, Pierre Brunel (dir.), Paris, Laffont, 2005, coll. « Bouquins » HUYSMANS, Joris-Karl, Romans et nouvelles, André Guyaux et Pierre Jourde (dir.), Paris, Gallimard, Bibliothèque de la Pléiade, 2019 HUYSMANS, Joris-Karl, À Rebours, Stéphane Guégan et André Guyaux (préface), Paris, Gallimard / Musée d’Orsay, 2019 HUYSMANS, Joris-Karl, Écrits sur l'art : 1867-1905, Patrice Locmant (dir.), Paris, Bartillat, 2006 HUYSMANS, Joris-Karl, Les Grünewald du musée de Colmar : des primitifs au retable d'Issenheim, éd. critique par Pierre Brunel, André Guyaux et Christian Heck, Paris, Hermann, 1988 HUYSMANS, Joris-Karl, Lettres inédites à Zola, p. p. Pierre Lambert, Paris, Droz, 1953 HUYSMANS, Joris-Karls, Lettres inédites à Edmond de Goncourt, p. p. Pierre Lambert, Paris, Nizet, 1956 HUYSMANS, Joris-Karl, Lettres à Théodore Hannon, p. p. Pierre Cogny et Christian Berg, Saint- Cyr-sur-Loire, Christian Pirot, 1985 HUYSMANS, Joris-Karl, Lettres inédites à Arij Prins, 1885-1907, p. p. Louis Gillet, Paris, Droz, 1977 Huysmans : Une esthétique de la décadence, André Guyaux, Christian Heck et Robert Kopp (dir.), Paris, Champion, 1887 Huysmans - Moreau. Féériques visions, Paris, Musée Gustave Moreau - Société J.-K. Huysmans, 2007 MILLET-GERARD, Dominique, Le Tigre et le chat. Vingt études sur Léon Bloy et J.-K. Huysmans, Paris, Classiques Garnier, 2017. SEILLAN, Jean-Marie, Huysmans : politique et religion, Paris, Classiques Garnier, 2009 ZAYED (Fernande), Huysmans peintre de son époque, Paris, Nizet, 1973. 13
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 5. Huysmans' Writings: Extracts Les Sœurs Vatard (1879) « […] il y avait des statues coloriées de Vierges, des Madones sérieuses et bonnes à mettre en niche, des Christs, grandeur nature, avec du lilas sur le ventre et du carmin aux doigts, des Jésus bénisseurs, frisottés et blonds, les bras en avant, accueillant et bien vêtus, puis sur le rayon du bas, des Saints-Sacrements, des patènes, des ciboires resplendissaient avec leurs dorures et leurs mosaïques ; des veilleuses étranges, des cœurs en verre rouge, montés sur bronze, des lys aux pistils et aux tiges de cuivre, des vases avec des J. M. entrelacés et des bouquets de roses, en papier blanc, s’empilaient sur une cloison encadrant un petit Rédempteur, de cire rose, qui batifolait sur de la paille, serré comme un joujou de vieille femme, sous un globe de verre. » « Il aurait voulu éteindre une femme accoutrée en saltimbanque riche, l’hiver, par un ciel gris et jaune, un ciel qui va laisser tomber sa neige, dans une chambre tendue d’étoffes du Japon, pendant qu’un famélique quelconque viderait un orgue de Barbarie des valses attristantes dont son ventre est plein. » À Vau-l’eau (1882) « C’étaient chez lui des masses de boîtes, de topettes, de fioles, une pharmacie en chambre, contenant tous les citrates, les phosphates, les proto-carbonates, les lactates, les sulfates de protoxyde, les iodures et le proto-iodures de fer, les liqueurs de Pearson, les solutions de Devergie, les granules de Dioscoride, les pilules d’arséniate de soude et d’arséniate d’or, les vins de gentiane et de quinium, de coca et de colombo ! » « [...] il comprit l’inutilité des changements de routes, la stérilité des élans et des efforts ; il faut se laisser aller à vau-l’eau ; Schopenhauer a raison, se dit-il, « la vie de l’homme oscille comme un pendule entre la douleur et l’ennui ». Aussi, n’est-ce point la peine de tenter d’accélérer ou de retarder la marche du balancier ; il n’y a qu’à se croiser les bras et à tâcher de dormir. » L’Art Moderne (1883) À propos de La Naissance de Vénus de William Bouguereau : « De concert avec M. Cabanel, il [Bouguereau] a inventé la peinture gazeuse, la pièce soufflée. Ce n’est même plus de la porcelaine, c’est du léché flasque ; c’est je ne sais quoi, quelque chose comme de la chair molle de poulpe. La Naissance de Vénus, étalée sur la cimaise d’une salle, est une pauvreté qui n’a pas de nom. La composition est celle de tout le monde. Une femme nue sur une coquille, au centre. Tout autour d’autres femmes s’ébattant dans des poses connues. Les têtes sont banales, ce sont ces sydonies qu’on voit tourner dans la devanture des coiffeurs ; mais ce qui est plus affligeant encore, ce sont les bustes et les jambes. Prenez la Vénus de la tête aux pieds, c’est une baudruche mal gonflée. Ni muscles, ni nerfs, ni sang. Les genoux godent, manquent d’attaches; c’est par un miracle d’équilibre que cette malheureuse tient debout. Un coup d’épingle dans ce torse et le tout tomberait. La couleur est vile, et vil est le dessin. C’est exécuté comme pour des chromos de boîtes à dragées; la main a marché seule, faisant l’ondulation du corps machinalement. C’est à hurler de rage quand on songe que ce peintre qui, dans la hiérarchie du médiocre, est maître, est chef d’école, et que cette école, si l’on n’y prend garde, deviendra tout simplement la négation la plus absolue de l’art ! » À propos de Degas : « Ici, point de chairs crémeuses ou lisses, point d’épidermes en baudruche et de moire, mais de la vraie chair poudrée de veloutine, de la chair maquillée de théâtre et d’alcôve, telle qu’elle est avec son grenu éraillé, vue de près, et son maladif éclat, vue de loin. M. Degas est passé maître dans l’art de rendre ce que j’appellerais volontiers la carnation civilisée. Il est passé maître 14
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 encore dans l’art de saisir la femme, de la représenter avec ses jolis mouvements et ses grâces d’attitude, à quelque classe de la société qu’elle appartienne. » À Rebours (1884) « Déjà il rêvait d’une thébaïde raffinée, à un désert confortable, à une arche immobile et tiède où il se réfugierait loin de l’incessant déluge de la sottise humaine. » « Dans la salle à manger tendue de noir, ouverte sur le jardin de sa maison subitement transformée, montrant ses allées poudrées de charbon, son petit bassin maintenant bordé d’une margelle de basalte et rempli d’encre et ses massifs tout disposés de cyprès et de pins, le dîner avait été apporté sur une nappe noire, garnie de corbeilles de violettes et de scabieuses, éclairée par des candélabres où brûlaient des flammes vertes et, par des chandeliers où flambaient des cierges. » « Ce qu’il voulait, c’étaient des couleurs dont l’expression s’affirmât aux lumières factices des lampes ; peu lui importait même qu’elles fussent insipides ou rêches, car il ne vivait guère que la nuit, pensant qu’on était mieux chez soi, plus seul, et que l’esprit ne s’excitait et ne crépitait réellement qu’au contact voisin de l’ombre. » « Positivement, il souffrait de la vue de certaines physionomies, considérait presque comme des insultes les mines paternes ou rêches de quelques visages, se sentait des envies de souffleter ce monsieur qui flânait, en fermant ses paupières d’un air docte, cet autre qui paraissait agiter un monde de pensées, tout en dévorant, les sourcils contractés, les tartines et les faits divers d’un journal. » « Ces dessins [à propos d’Odilon Redon] étaient en-dehors de tout ; ils sautaient, pour la plupart, par-dessus les bornes de la peinture, innovaient un fantastique très spécial, un fantastique de maladie et de délire. » « Tout n’est que syphilis, songea des Esseintes. » « Il était, depuis des années, habile dans la science du flair ; il pensait que l’odorat pouvait éprouver des jouissances égales à celles de l’ouïe et de la vue, chaque sens étant susceptible, par suite d’une disposition naturelle et d’une érudite culture, de percevoir des impressions nouvelles, de les décupler, de les coordonner, d’en composer ce tout qui constitue une œuvre. » En Rade (1887) Chapitre V (rêve du voyage sur la Lune) : « C’était au-delà de toutes limites, dans une suite indéfinie de l’œil, un immense désert de plâtre sec, un Sahara de lait de chaux figé, dans le centre duquel se dressait un mont circulaire, gigantesque, aux flancs raboteux, troués comme des éponges, micacés de points étincelants comme des points de sucre, à la crête de neige dure, évidée en forme de coupe. » Là-Bas (1891) « Or, du mysticisme exalté au Satanisme exaspéré, il n’y a qu’un pas. Dans l’au-delà, tout se touche. » « Les conversations qui ne traitent pas de religion ou d’art sont si basses et si vaines ! » En route (1895) « Je suis hanté par le Catholicisme, grisé par son atmosphère d’encens et de cire, je rôde autour de lui, touché jusqu’aux larmes par ses prières, pressuré jusqu’aux moelles par ses psalmodies et par ses chants. Je suis bien dégoûté de ma vie, bien las de moi, mais de là à mener une autre existence il y a loin ! Et puis… et puis… si je suis perturbé dans les chapelles, je redeviens inému et sec, dès que j’en sors. Au fond, se dit-il, en se levant et en suivant les quelques personnes qui 15
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 se dirigeaient, rabattues par le suisse vers une porte, au fond, j’ai le cœur racorni et fumé par les noces, je ne suis bon à rien. » La Cathédrale (1898) « En somme, avec la teinte de ses pierres et de ses vitres Notre-Dame de Chartres était une blonde aux yeux bleus. » « Il n’y a point que les Trappes, répliqua l’abbé. Devenez père ou oblat bénédictin, moine noir. Leur règle doit être douce ; vous vivrez dans un monde de savants et d’écrivains, que pouvez- vous désirer de plus ? » Les Foules de Lourdes (1906) « Pour en revenir à Lourdes même, c'est, je le répète, un endroit à la fois répulsif et divin, mais il sied de l'expérimenter en personne. » Trois Églises et Trois Primitifs (1908) « Là, dans l’ancien couvent des Unterlinden, il surgit, dès qu’on entre, farouche, et il vous abasourdit aussitôt avec l’effroyable cauchemar d’un Calvaire. C’est comme le typhon d’un art déchaîné qui passe et vous emporte, et il faut quelques minutes pour se reprendre, pour surmonter l’impression de lamentable horreur que suscite ce Christ énorme en croix, dressé dans la nef de ce musée installé dans la vieille église désaffectée du cloître. » 16
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 6. List of Lenders Public Collections • Musée d'Orsay, Paris • Musée du Louvre, Paris • Musée des Beaux-Arts de la Ville de Paris – Petit Palais, Paris • Musées des Arts Décoratifs, Paris • Musée National Gustave Moreau, Paris • Musée des arts et métiers – Conservatoire national des arts et métiers, Paris • Bibliothèque nationale de France – Bibliothèque de l’Arsenal, Paris • Bibliothèque littéraire Jacques Doucet, Paris • Bibliothèque interuniversitaire de Santé– Université Paris-Descartes, Paris • Institut national d'histoire de l'art, Paris • Musée de l'Histoire de la Médecine, Paris • Musée des moulages de Saint-Louis, Paris • Musée d’Art Moderne et Contemporain de Strasbourg • Musée des Beaux-Arts, Strasbourg • Musée des Arts décoratifs, Strasbourg • Musée Zoologique, Strasbourg • Musée Alsacien, Strasbourg • Musée de l’Œuvre Notre-Dame, Strasbourg • Fondation de l’Œuvre Notre-Dame, Strasbourg • Jardin des sciences - Université de Strasbourg • Musée de minéralogie - Jardin des sciences - Université de Strasbourg • Jardin botanique de l'Université de Strasbourg - Faculté des Sciences de la Vie • Bibliothèque des musées de la Ville de Strasbourg • Bibliothèque nationale et universitaire de Strasbourg • Musée Unterlinden, Colmar • Musée de l'Impression sur Étoffes de Mulhouse • Musée du Papier Peint de Rixheim • Jardin d'Hiver - Musée de la Faïence de Sarreguemines • Musée des Civilisations de l'Europe et de la Méditerranée, Marseille • Musée des Beaux-Arts, Bordeaux • Musée des Beaux-Arts, Nantes • Musée des Beaux-Arts, Rouen • Musée des Châteaux de Versailles et de Trianon • Le musée d’art moderne Grand-Duc Jean, Luxembourg Private Collections • LUBIN Perfumes • Lionel van der Gucht Collection • Bueil & Ract-Madoux Private Collection • Florence Valdes-Forain Private Collection • Léa Barbazanges Artist's Collection • Rémi de Raphaélis Private Collection Together with those of collectors wishing to remain anonymous 17
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 7. Publications CATALOGUE Joris-Karl Huysmans. De Degas à Grünewald Published under the direction of Stéphane Guégan and André Guyaux Co-publication Gallimard / Musée d'Orsay 2019 228 pages ISBN : 9782072865602 € 35.00 ATI Huysmans (1848-1907), plutôt féru de Frans Hals et Rembrandt jusque-là, a avoué combien fut déterminante la découverte de Degas lors de l'exposition impressionniste de 1876, la deuxième du genre. L'artiste de la «commotion» jouira d'un statut particulier dans la critique d'art de l'écrivain, qui admet d'emblée la possibilité d'une double modernité : celle des peintres de la vie moderne, et celle des explorateurs du rêve. Son désir d'échapper aux logiques de chapelle aura toutefois porté tort à Huysmans, dont le massif critique souffre encore d'une méconnaissance relative. Cet ouvrage entend montrer que ce supposé fils de Zola agit davantage, et très tôt, en héritier de Baudelaire, sa véritable autorité, et Gautier, très souvent cité, comme si le romancier de Marthe s'était dès le départ doublé de celui d'À rebours. Le lecteur est ainsi invité à reprendre pied dans un moment particulier de l'art européen et de la sensibilité moderne, à la croisée de la poussée naturaliste des années 1870, du décadentisme des années 1880-1890 et du «retour» aux Primitifs sur fond de renaissance catholique. Il est peu de grands écrivains qui aient été aussi impliqués que lui dans ce vaste mouvement d'époque. EXTRAITS Huysmans et l’art officiel : un critique d’opposition (Aude Jeannerod) Aux yeux de Huysmans, l’État comme l’Académie exercent un pouvoir abusif, au détriment de la liberté individuelle de l’artiste et de l’autonomie du champ artistique. Ses conceptions libertaires réclament non seulement l’abolition des institutions, mais aussi que soit retirée à l’administration la prérogative de s’occuper des beaux-arts. En cela, il s’inscrit en faux contre la tradition de protection des arts héritée de l’Ancien Régime et contre l’idéologie républicaine qui fait de l’enseignement et de la promotion de l’art une mission de service public. Le temps de Redon, Degas, Moreau et Rops (André Guyaux) L’art, pour Joris-Karl Huysmans, fut longtemps, et prioritairement, un engagement en faveur des peintres qui se faisaient appeler les « Indépendants » parce que, refusés par les jurys des Salons 18
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 officiels, ils exposaient dans d’autres salles. Lorsqu’il publie son premier « Salon », en mai 1876, il est en train d’achever son premier roman, Marthe, qui paraîtra en octobre à Bruxelles. C’est le moment où il se rapproche d’Émile Zola […]. Il cherche dans la peinture ce qu’il cherche dans la littérature : le vivant, le vrai, un art qui ne ment pas, qui s’éloigne des clichés académiques, un art où il retrouve la vie, sa vie – la vie libre et même quelque peu débauchée qu’il mène à Paris, la vie des cafés et des bouges, des coulisses de théâtre et des repaires de prostituées. Huysmans, Moreau et Salomé (Mireille Dottin-Orsini et Daniel Grojnowski) L’intérêt que Huysmans porte à Moreau fut précoce. Dès ses premiers écrits, à l’occasion de recension des Poésies de Catulle Mendès, il évoque son trouble devant L’Apparition, parlant d’ »obscurité mythique », d’ »idéalité bizarre », de « chocs de couleurs imprévues ». Par la suite, tout en défendant les impressionnistes, il confirme la fascination qu’exercent sur lui les tableaux et aquarelles que Moreau expose aux Salons, à l’Exposition universelle et à la galerie Goupil. Du culte de l’art à l’art du culte (Stéphane Guégan) La formule est tentante, mais trompeuse. Car elle suppose deux formes de désintéressement antithétiques et schématise une trajectoire qui fut moins clivée. Le présent catalogue entend rappeler que l’écrivain naturaliste, le chantre ironique de la décadence et le converti tardif, ardent avocat des Primitifs et du spirituel dans l’art, sont inséparables… Degas et Grünewald, adulés à rebours de l’ordre chronologique, ne fixent pas les bornes d’un repli régressif, ils infirment, au contraire, l’antimodernité où notre époque aime à reléguer l’auteur de L’Art moderne, de Certains et de La Cathédrale. Le Retable d’Issenheim, par la réévaluation qu’en propose le dernier Huysmans en 1904, connaît une nouvelle naissance qui le fait pleinement participer des attentes de la fin du XIXe siècle, notamment des besoins d’un naturalisme spiritualiste. Huysmans ou l’art de l’inventaire (Estelle Pietrzyk) Entre la chlorose envisagée non plus comme forme de dégénérescence mais comme nuance de blanc et l’intense pourpre de Cassius – « l’or pourpre » - la gamme lexicale brassée par Huysmans pour décrire la carnation dépasse le nuancier le mieux fourni des marchands de couleurs pour rejoindre la palette des plus subtils peintres de la chair. L’éventail des teintes, pour celui qui fut « peut-être le plus grand coloriste de la langue française » semble sans limite tant le moindre ton intermédiaire peut encore être transformé en une infime nouvelle variation. VISITORS' GUIDE L’Œil de Huysmans. Manet, Degas, Moreau 2020 24 pages Published free of charge With the support of the patronage circle of the French Heritage Foundation, this guide provides exhibition visitors with a step-by- step commentary. 19
PRESS FILE "HUYSMANS' EYE: MANET, DEGAS, MOREAU…" STRASBOURG MODERN AND CONTEMPORARY ART MUSEUM 2 OCTOBER 2020 – 17 JANUARY 2021 8. Educational and Cultural Events WEEK-END INAUGURAL Le musée et l’exposition sont accessibles au public gratuitement Rencontre Noir c’est noir Samedi 3 octobre à 11h Durée : 1h Rencontre gustative avec Anne-Marie Schaff, gastronome inventive, autour d'une évocation du repas funèbre du roman À Rebours Jauge : 20 personnes. Inscription obligatoire auprès de flore.poindron@strasbourg.eu Visite L’Œil de Huysmans Samedi 3 octobre à 15h Durée : 1h Rencontre avec Robert Kopp, professeur de littérature à l’Université de Bâle et Estelle Pietrzyk, commissaire de l’exposition Projections Dimanche 4 octobre de 14h à 18h (séances toutes les 45 min.) En partenariat avec Vidéo Les Beaux Jours. La Tentation de saint Antoine de Georges Méliès, 1898 Durée : 56 sec. Une femme, puis deux, puis trois, essaient de tenter saint Antoine, jusqu’à apparaître sous les traits du Christ… Les Raboteurs de Cyril Collard, 1988 Durée : 7 min. Lecture d’une œuvre de Caillebotte par un chorégraphe, Angelin Preljocaj, et un musicien, Thierry Lancino. Le Voyage dans la lune de Georges Méliès, 1902. Durée : 14 min. Le professeur Barbenfouillis et six autres savants s’organisent pour une expédition sur la lune... VISITES Découvrir l’exposition Les dimanches du 11 octobre au 17 janvier à 11h Durée : 1h30 Découvrir l’exposition interprétée en L.S.F Dimanche 8 novembre à 11h Durée : 1h30 Objets rares et précieux : les trésors de Huysmans Dimanche 11 octobre à 15h Une visite à deux voix autour des collections scientifiques, par Delphine Issenmann (chargée de l’inventaire et des collections) et Barbara Gollain (chargée de collection de minéralogie). Dans le cadre de la Fête de la science. Gratuit sur réservation uniquement (à partir du 14 septembre) : https://jds-reservation.unistra.fr/ Les Naturalia de Huysmans Dimanche 15 novembre à 15h Durée : 1h 20
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