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            <title xml:lang="fr">Paysage et histoire de l'art : un 'geographic turn' ?</title>
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                <title level="j">Revue de l'Art</title>
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                <term xml:lang="fr">tournant spatial</term>
                <term xml:lang="fr">tournant géographique</term>
                <term xml:lang="fr">peinture</term>
                <term xml:lang="fr">paysage</term>
                <term xml:lang="fr">méthodologie</term>
                <term xml:lang="fr">landscape cultural studies</term>
                <term xml:lang="fr">historiographie</term>
                <term xml:lang="fr">histoire du paysage</term>
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                <term xml:lang="fr">épistémologie</term>
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              <p>Over the past thirty some years, landscape has been the object of an increasingly abundant consideration in numerous areas. This state of recent advances in art history elucidates a certain number of essential interrogations and fundamental tendencies. The work concerning landscape painting questions the category of "genre" and attempts to approach the phenomena of production and of reception in terms of exchanges on a European scale. The historiographical model, which saw, in the rise of landscape painting since the Renaissance, the triumph of a modern Occidental pictorial form appears to have been, for the most part, worn-out. A methodological impulsion, essentially Anglo-Saxon in origin, gives rise to the revelation of an ideological and political dimension to landscape. Research thus seems to have known a certain "geographical turn" which certainly remains to be followed in order to avoid approaching landscape according to the single register of representation - art image, cultural construction, social identity - but as material reality, either having disappeared or still tangible.</p>
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              <p>Le paysage fait l'objet, depuis une trentaine d'années, d'une réflexion de plus en plus abondante dans de nombreux domaines. Cet état des avancées récentes en histoire de l'art met en lumière un certain nombre de questionnements centraux et de tendances de fond. Les travaux sur la peinture de paysage s'interrogent sur la catégorie du " genre " et tentent d'aborder les phénomènes de production et de réception en termes d'échanges à l'échelle européenne. Le modèle historiographique qui voyait dans l'essor du paysage depuis la Renaissance le triomphe d'une forme occidentale, moderne et picturale apparaît largement battu en brèche. Une impulsion méthodologique venue essentiellement du monde anglo-saxon invite à dévoiler la dimension idéologique et politique du paysage. La recherche semble ainsi avoir connu un certain " tournant géographique ", qui reste certainement à poursuivre pour ne pas aborder le paysage selon le seul registre de la représentation - image plastique, construction culturelle, identité sociale -, mais bien en tant que réalité matérielle, disparue ou toujours tangible.</p>
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