Des étudiants américains à Paris : un autre regard sur les relations culturelles France-États-Unis (de la fin des années 1940 aux années 1950) (notice n° 863070)
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| control field | 20250123153423.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Capdevila, Elisa |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Des étudiants américains à Paris : un autre regard sur les relations culturelles France-États-Unis (de la fin des années 1940 aux années 1950) |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2017.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 64 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Le GI Bill contribue, après la Seconde Guerre mondiale, au retour des artistes américains à Paris. Encore considérée par beaucoup comme la « Mecque des arts », la ville apparaît comme une étape importante dans la formation d’un jeune artiste. L’arrivée des Américains à Paris rappelle le prestige persistant de l’ancienne capitale des arts et son dynamisme retrouvé à partir de la fin des années 1940. Elle perpétue une tradition de formation parisienne fondée sur une relation inégale entre les États-Unis, pays jeune sans avant-garde propre à présenter au monde, et l’Europe, la France, plus particulièrement, considérée comme le berceau de l’art moderne. Mais le GI Bill est aussi, déjà, le cadre d’une évolution des relations artistiques entre le Vieux et le Nouveau continent. L’affranchissement des étudiants artistes à l’égard des maîtres parisiens qu’ils sont pourtant venus chercher annonce déjà l’indépendance future des arts américains ; leur bourse et leur statut de citoyens américains leur assurent une relative aisance qui accentue leur sentiment de liberté. Enfin, le traitement médiatique dont ils font l’objet conforte l’idée que le temps de l’expatriation parisienne doit prendre fin, instituant les États-Unis comme nouvelle puissance artistique sur la scène internationale. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Americans Students in Paris. A different sight on cultural relationship between France and the United States (late 1940’s – late 1950’s) After the Second World War, American artists flocked to Paris. Most of them were students taking advantage of a generous GI Bill to come and study in a city that was still considered as the “Mecqua of the arts”, an obvious destination for any young artist seeking to complete his or her education. The flow of American artists to Paris after the war offers a complex image of a period long held as seeing the rise of American Art – a rise that would ultimately lead to its “triumph”. More than one million GI Bill students would actually come to Paris, many would-be painters or writers, seeking fame in the city that had welcomed the Lost Generation – a model for many of the young students of the 1940s. Their testimonies shed light on the persistent attractivity of the city and its dynamic art life in the late 1940s and early 1950s. These new comers revived a tradition that was based on an unequal relationship between the United States – a young country that had no proper avant-garde of its own to boast on the international scene – and Europe, more particularly France – regarded as the craddle of modern art. But the GI Bill also represented a challenge to such a traditional view. The emancipation of the American students from the Paris masters they had come to study with seemed to announce the future independence of the American arts; the privileges they enjoyed as American citizens abroad and as grantees of the US government supported their sense of freedom. The way the US magazines reported on these “new expatriates” further comforted the idea that the Paris reign had come to an end, also marking the end of a tradition of American expatriation in the city. |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | art américain |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Paris capitale des arts |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | GI Bill |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | expatriation américaine |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | relations culturelles transatlantiques |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Paris capital of the arts |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | American expatriation |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | GI Bill |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | transatlantic cultural relations |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | American art |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Revue historique | 682 | 2 | 2017-05-24 | p. 385-402 | 0035-3264 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/revue-historique-2017-2-page-385?lang=fr&redirect-ssocas=7080">https://shs.cairn.info/revue-historique-2017-2-page-385?lang=fr&redirect-ssocas=7080</a> |
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