Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte ...historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (RMN), l’Association française d’Action artistique, et les administrations pour l’art contemporain. Sous le titre de grande exposition prestigieuse, chacune de ces expositions a été un moyen pour illustrer une célébration commémorative, une belle relation diplomatique avec l’étranger et une présentation de recherches scientifiques et de politique de patrimoine. De la volonté d’échanges artistiques avec des musées étrangers a résulté l’internationalisation des expositions temporaires, la professionnalisation de la RMN en la matière. Le développement des recherches en histoire de l’art en collaboration avec ces musées étrangers est une conséquence évidente. Toutes ces orientations apparentent les Galeries nationales du Grand Palais à une institution culturelle phare au centre de la capitale en affirmant leur place parmi les grands musées parisiens. Ce travail se focalise également sur la gestion organisatrice, introduite dans la pratique de l’organisation d’expositions aux GNGP notamment pour : l’entretien et la muséographie des collections, le financement des expositions et l’accueil des publics. On constate aussi une professionnalisation des métiers concernant l’organisation d’expositions, pendant ces années. Cette thèse présente le développement de grandes expositions organisées dans un cadre institutionnel, le goût des grands publics pour des expositions artistiques. Elle nous permet également de comprendre l’évolution des expositions temporaires muséales dans la seconde moitié du XXème siècle.
This thesis presents an investigation on the history of temporary art exhibitions at the Galeries nationales du Grand Palais (GNGP) between 1966 and 2005. The analysis of the historical, political and socialistic background and the international artistic policy of France show that the government has played a central role in the development of art exhibitions at the GNGP : the government has encouraged and institutionalized art exhibitions as one of its cultural policy. These exhibitions were mostly planned by three public institutions; Réunion des Musées Nationaux (RMN), Association française d’Action artistique, and the institution for contemporary arts. Each exhibition named as a major representation has been taken place for the commemoration and the presentation of friendly diplomatic relations with foreign countries. Some exhibitions announced academic achievements in art history and outcomes of museum and cultural heritage policies. The enhancement policy of the cultural exchange with foreign museums has led to the internationalization of artexhibitions, and the development of the RMN specialized for the planning of international art exhibitions. This policyalso contributes to the art history research development through the academic collaboration with foreign museums. These grand exhibitions that took place at the GNGP have contributed to make the GNGP as a major cultural institution in the centre of capital city, comparable to other main museums of Paris. This works also discusses the introduction of management for running exhibitions at the GNGP. First, this management included the systematic care and presentationof collections, then the funding of exhibitions and even more the reception of visitors. Moreover, during these years, there has arisen a professionalization of jobs related to art exhibition planning and operation. This thesis presents the development of grand art exhibitions organised in the frame of the public administrations, public audiences for fine arts exhibition, and also allows the understanding of the development of the temporary museum exhibitions held in thesecond half of the twentieth century.
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