L'effet Malraux

• Autores: Henri Zerner
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 182, 2013 (Ejemplar dedicado a: Musées imaginaires), págs. 9-12
• Idioma: francés
• Texto completo no disponible (Saber más ...)
• Resumen

  • The Malraux effect Did not the "musée imaginaire" (museum without walls) exist before Malraux formulated it as such? Did it not exist before the very birth of the museum itself? What Malraux erased with a stroke of a pen in his first enunciation of the "Musée Imaginaire" is the entire history of the reproductive print before the birth of the museum. He also silently evades, by means of a powerfully suggestive but rather vague wording, the complex process of the integration of works of art in individual memory. And it is this process, taking place in the interactions between the memory and the graphic documentation, that constitutes for each person, and especially for artists from the Renaissance on, a museum without walls (musée imaginaire) well before the term was coined. Malraux's force lies in his capacity to stimulate the mind by telescoping several centuries of history in one formula, the "Musée Imaginaire" (museum without walls).