The grid occupies a problematic place in art history. Critics consider it as an abstract structure, a pictorial sign or an originality mirroring the division between painting and (hi)story that look place at the beginning of the XXth. But cubism, which supposedly came first, appears in fact to be plural and ridden with classical echoes. Hence the concept of hinge and the necessity of defining the grid as a form, above ali (a possibility of structure, and one thal can make sense). Mondrian first turns the brunelleschian picture and then, forcing Braque, tries to put in phase flat representation and plan of representation. Under his eye, the abject becomes "division of the wall" and, to extrapolate, the grid is reduced to an architectural madel. Nevertheless, his final period suggests thal form can actually answer to a textile madel (plaiting). As for Matisse, he paints from the carpe!, which relies on knots and modules rather than li nes. The textile grid takes three aspects thal are very different in terms of extension and process. The architectural madel follows these three aspects. Aunique case centered on the knot creates a third madel: cartographie. Ils nodal variant (the marte/aire) can be found in the works of Mondrian (as an echo of the history of Dutch painting) and Braque (for formai reasons only). The relation ta the work of art, thal permits "fictioning", and ils anachronic nature explain the ahistoric quality of the form. With the help of psychology and anthropology, a strategy appears thal (following several criteria, among which the marte/aire as a schema) allows to scientifically study it at work (not just as a document), as a production-reception complex.
