LEADER 03159nam 2200397 450 001 9910131219803321 005 20240214103252.0 010 $a1-4123-5835-3 024 7 $a10.1522/24996121 035 $a(CKB)3680000000167222 035 $a(NjHacI)993680000000167222 035 $a(EXLCZ)993680000000167222 100 $a20240214d2007 uy 0 101 0 $afre 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aIdentification de l'avant-garde et identite? de l'artiste $eles femmes et le groupe automatiste au Que?bec (1941-1948) /$fRose-Marie Arbour 210 1$aChicoutimi :$cJ.-M. Tremblay,$d2007. 215 $a1 online resource (34 pages) 225 1 $aClassiques des sciences sociales 327 $aIntroduction -- 1. Position des femmes sur la sce?ne artistique au Que?bec de l'entre-deux-guerres a? 1950 -- 2. Les jeunes artistes autour de Borduas -- 3. Automatisme et multidisciplinarite?: la contribution des femmes au mouvement automatiste du Que?bec -- 4. La notion de rupture/transmission -- 5. La marginalisation des femmes artistes automatistes: un fait de socie?te?. 330 $aThis essay examines the status of women artists directly or indirectly related to the Automatist Movement in Quebec during the 1940s. Some of these women were signatories of the group's notorious Refus global (1948) manifesto, which marked a turning point in radical modern thought in Quebec. The author first re-contextualizes the contribution of women artists to the art vivant milieu during the inter-war years; she then discusses an important aspect of radical modernity (avant-garde) as represented by the Automatists (1942-54): the plurality of disciplines and the trans-disciplinary practice, characteristic of nearly all the women artists involved in this movement. In conclusion, she offers an analysis of the significance of the signing of the Refus global for women artists: had they not done so, most of them would not be recognized as part of the history of this artistic and literary avant-garde movement, let alone the history of art in general. This study reveals the extent to which avant-garde activity relies on theoretical thought and writing to become a part of history. That few women have made their mark in artistic avant-garde movements has been attributed, in part, to the fact that they have written little, if at all. The same would no doubt be true of the women artists discussed here had they not signed their name to the Refus global. A number of them would undoubtedly have been acclaimed even without this signatory consecration, but recognition would have come at a later date and in another context. 410 0$aClassiques des sciences sociales. 517 $aIdentification de l'avant-garde et identité de l'artiste 606 $aArt 615 0$aArt. 676 $a700 700 $aArbour$b Rose-Marie$0866598 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910131219803321 996 $aIdentification de l'avant-garde et identite? de l'artiste$93987784 997 $aUNINA