Après les affiches nazies (Un G. I. noir crachant sur la Vénus de Milo) ou celles des forces alliées (Hitler et Mussolini étranglant l'Europe), l'affiche se remet au service de la publicité. Elle s'inspire alors directement des grands courants de la peinture contemporaine : d'une part l'esthétique surréaliste (Aspro, 1963, du Français Savignac) et d'autre part l'esthétique abstraite, la plus importante, qui se développe sous l'influence du " design " et dont les grands maîtres appartiennent à l'école helvétique. Mais de plus en plus rares sont les affichistes purement graphiques ; la photographie détient le quasi-monopole de cet art, bien qu'à partir de 1965, avec la vogue du " Pop " née aux États-Unis, se produise un curieux renversement : le " grain " de la photo est utilisé comme procédé graphique, en même temps qu'un intérêt passionné pour les affiches de la Belle Époque provoque la réimpression massive des chefs-d'œuvre de Mucha, de Toulouse-Lautrec, de Bradley. En France, lors des événements de 1968, de nombreux artistes de tous pays collaborent à la création de centaines d'affiches politiques à l'" Atelier populaire " des Beaux-Arts de Paris, affiches que s'arracheront à prix d'or les collectionneurs américains. Enfin, devenue un véritable mythe, l'affiche s'immisce à son tour dans la peinture, comme en témoignent les Affiches éclatées d'Aeschbacher ou les affiches lacérées présentées en 1967 à la Biennale de Paris.
Les affichistes ont continué leur activité de " détournement " jusque dans les années 70. Mais bien des peintres ont travaillé pour elle, par exemple à l'occasion de grands rassemblements (jeux Olympiques de Munich en 1972), en adaptant avec plus ou moins de réussite leur style à l'événement à commémorer (Horst Antes). En France, G. Mathieu a recherché cette difficile intégration (affiches pour Air France, 1967 ; affiche pour le récital Mireille Mathieu, 1974). Après le pop art, l'Hyperréalisme a contribué à transformer la mise en page en isolant un détail grossi à l'excès, et les " messages érotiques " se sont multipliés : Miss Levi's (1971), affiche italienne pour les pantalons Levi's, avec le dessin de la poche en pointillé sur la hanche nue d'une jeune femme ; Passez l'été avec une blonde un peu forte (1976), affiche pour les cigarettes Prince. Le retour à une objectivité immédiate est un phénomène assez général, pas uniquement lié au cinéma et à la photo, mais aussi à une meilleure connaissance des affiches des pays de l'Est. En France, le milieu institutionnel, notamment, s'est efforcé de promouvoir l'affiche ; mentionnons les réalisations de Nicolas Vial pour le ministère de la Culture (1987), celles de Jean Widmer pour le centre Pompidou (1989) ou encore d'Annick Orliange (1989).
affichistes
Nom d'abord donné à un groupe d'artistes français qui s'est manifesté à la première Biennale de Paris en 1959 : François Dufrêne, ancien participant du mouvement lettriste ; Raymond Hains, qui exposait une énorme palissade recouverte d'affiches et de manifestes lacérés ; Jacques de La Villeglé.
Hains et de La Villeglé avaient commencé à rassembler des affiches déchirées en 1949 ; ils exposaient en octobre 1957 chez Colette Allendy, et Dufrêne se joignit alors à eux. Leur travail était novateur à un double point de vue. Ils choisissaient comme matériau l'affiche " montrant ses dessous ", lacérée par des passants anonymes ; elle est ainsi détournée de sa fonction publicitaire primitive, et le choix qui en est fait attire l'attention sur son efficacité plastique et sémantique, révélée par les lacérations et les décollements d'" artistes involontaires ". Les vestiges d'affiches anciennes qui apparaissent évoquent une mémoire fragmentée d'informations naguère actuelles et rapidement réduites à des stéréotypes morts, que l'on exhume. Les affichistes renouvelaient d'autre part la conception du collage, en en renversant littéralement la signification. Le " dé-collage " allait devenir un des gestes essentiels de la génération de certains artistes des années 60.
À l'aube du Nouveau Réalisme, les affiches lacérées, parfois présentées telles qu'elles avaient été recueillies, parfois " aidées " (suivant le mot de Marcel Duchamp pour ses ready-made), relayaient aussi, par leur richesse de formes, de textures et de teintes, la peinture abstraite, arrivée à un moment critique.
En Italie, Mimo Rotella avait présenté des affiches lacérées à l'Art Club de Rome en 1954 et pris connaissance des travaux des Français en 1961. À Paris en 1954, Wolf Vostell pratique le " dé-collage " en 1958, s'attachant à poursuivre le " principe plastique de l'événement iconographique au contenu ambivalent et complexe " (Vostell), et l'infléchit vers le " happening ". Dufrêne, Hains, de La Villeglé, Rotella et Vostell se sont intégrés en 1960 au groupe des Nouveaux Réalistes. Leur production a fait l'objet d'une exposition à la galerie Jean Larcade en octobre 1976.
Afonso (Jorge)
Peintre portugais ( ? v. 1470-1475 –? 1540).
Beau-frère du peintre Francisco Henriques, s'il n'est pas, comme on l'a supposé, un Flamand naturalisé, du moins reçut-il l'enseignement probable d'un maître étranger. Les débuts de son activité artistique, signalée dès 1504, coïncident avec les premières années du règne de Manuel Ier, qui l'attache à sa cour en 1508 et le nomme contrôleur et administrateur de toutes les entreprises de peinture royales, charges qui lui furent confirmées par Jean III en 1529. De nombreux documents (de 1509 à 1540) attestent l'existence de son atelier, près du monastère de S. Domingos à Lisbonne, où travaillèrent notamment son neveu Garcia Fernandes, son gendre Gregorio Lopes, Cristovão de Figueiredo, Pedro et Gaspar Vaz, ainsi que Vasco Fernandes, qui y figurait en 1514. Bien qu'on ne connaisse pas d'œuvres signées par le peintre ou documentées avec précision, on lui a attribué récemment, en raison de son importance, deux des meilleurs ensembles d'œuvres royales non identifiées qui semblent contenir en germe le style de son atelier. Il s'agit des peintures monumentales de la rotonde des Templiers (v. 1510, Tomar, couvent du Christ) et du grand retable de l'église de la Madre de Deus (Lisbonne, Xabregas), daté de 1515, sur le panneau de l'Apparition du Christ à la Vierge. On reconnaît également le style du maître dans le retable de l'église du Jesu (v. 1520, musée de Setubal) et dans la série dite " du Maître de São Bento " (v. 1528, Lisbonne, M. A. A.), où sont évidentes, comme à la Madre de Deus, la collaboration de disciples de son atelier, parmi lesquels ceux qu'on a appelés " les Maîtres de Ferreirim ". Ces œuvres témoignent d'un art sobre et vigoureux, éclectique et monumental, de caractère national. Elles furent déterminantes pour l'orientation de la peinture portugaise et confirmeraient avec la plus grande vraisemblance le rôle privilégié de Jorge Afonso, tant pour les charges qu'il exerça que pour l'atelier où il dirigea quelques-uns des meilleurs peintres de la génération suivante.
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