Abstract
This article addresses the question of identity issues underpinned in the affirmation of an Algerian painting through the figure of Sauveur Galliéro (1914-1963). As a self-taught artist and leader of the "Generation of the Môle of Algiers," he was a major intercessor between European and indigenous communities. At the heart of artistic, political and social issues, he holds a singular and plural position. The personal archives of the artist and a review of the colonial press allow us to analyze the reception of his work between Paris and Algiers, with the assumption that it bears the seeds of an open “Algerianity”. Free of any colonialist perspective, taking up elements of North African and European traditions, it is indeed anchored in a local and universal topos: the artist's relationship to the sea.
Highlights
R (1893-1973) entendaient associer les populations européennes fraîchement installées en Algérie à une souche algérienne qui leur aurait préexisté
This article addresses the question of identity issues underpinned in the affirmation of an Algerian painting through the figure of Sauveur Galliéro (1914-1963)
The personal archives of the artist and a review of the colonial press allow us to analyze the reception of his work between Paris and Algiers, with the assumption that it bears the seeds of an open “Algerianity”
Summary
R (1893-1973) entendaient associer les populations européennes fraîchement installées en Algérie à une souche algérienne qui leur aurait préexisté. Selon Dalila Orfali, directrice du Musée national des Beaux-Arts d’Alger, « Galliéro consommait la rupture définitive avec ce qui avait été et annonçait la naissance d'une école artistique algérienne aux côtés de personnalités comme [Jean] Sénac, [Mouloud] Feraoun, Himoud Brahimi et bien d’autres.
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