{"id":10946,"date":"2019-07-07T15:53:04","date_gmt":"2019-07-07T14:53:04","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=10946"},"modified":"2019-07-07T15:53:50","modified_gmt":"2019-07-07T14:53:50","slug":"fetes-et-kermesses-au-temps-des-brueghel","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/","title":{"rendered":"F\u00eates et Kermesses au temps des Brueghel"},"content":{"rendered":"<p><strong>Alors que l\u2019Europe c\u00e9l\u00e8bre le 450e anniversaire de la mort de Pieter Bruegel l\u2019Ancien, le mus\u00e9e de Flandre se met au diapason de la f\u00eate au rythme d\u2018un joyeux cort\u00e8ge qui envahira toutes les salles.<\/strong><\/p>\n<p>Nous avons tous en t\u00eate les kermesses flamandes endiabl\u00e9es avec les paysans qui dansent, boivent et ripaillent au son de la cornemuse. Nous les associons naturellement \u00e0 Pieter Bruegel l\u2019Ancien, peintre de g\u00e9nie. Certes, il parvient comme nul autre \u00e0 nous transporter dans la ronde mais ses f\u00eates truff\u00e9es de d\u00e9tails, de personnages et de symboles deviennent populaires gr\u00e2ce \u00e0 toute une g\u00e9n\u00e9ration de peintres talentueux.<\/p>\n<figure id=\"attachment_10981\" aria-describedby=\"caption-attachment-10981\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10981\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/attachment\/123408540\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?fit=800%2C593&amp;ssl=1\" data-orig-size=\"800,593\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;David Teniers, La Kermesse de saint Georges \/ De Sint-Joriskermis, ca.1645. Huile sur bois \/ Olieverf op paneel, 43 x 58,5 cm, Montpellier, Mus\u00e9e Fabre \u00a9 Mus\u00e9e Fabre, Montpellier M\u00e9diterran\u00e9e M\u00e9tropole \/ photographie Fr\u00e9d\u00e9ric Jaulmes.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?fit=300%2C222&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?fit=665%2C493&amp;ssl=1\" class=\"wp-image-10981\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?resize=650%2C482\" alt=\"\" width=\"650\" height=\"482\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?resize=300%2C222&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?resize=768%2C569&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408540.jpg?resize=180%2C133&amp;ssl=1 180w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\" \/><\/a><figcaption id=\"caption-attachment-10981\" class=\"wp-caption-text\">David Teniers, La Kermesse de saint Georges \/ De Sint-Joriskermis, ca.1645. \u00a9 Mus\u00e9e Fabre, Montpellier M\u00e9diterran\u00e9e M\u00e9tropole \/ photographie Fr\u00e9d\u00e9ric Jaulmes.<\/figcaption><\/figure>\n<p>Martin van Cleve et Pieter Balten, ses contemporains, puis ses suiveurs avec notamment ses deux fils Pieter II et Jan I, feront preuve d\u2019audace en r\u00e9interpr\u00e9tant sans cesse ses mod\u00e8les. \u00c0 l\u2019\u00e9poque des Brueghel, la f\u00eate, grivoise et espi\u00e8gle, n\u2019est pas seulement r\u00e9serv\u00e9e aux paysans. Elle prend aussi la coloration de sc\u00e8nes galantes dans lesquelles les plaisirs charnels sont exalt\u00e9s.<\/p>\n<figure id=\"attachment_10978\" aria-describedby=\"caption-attachment-10978\" style=\"width: 800px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10978\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/attachment\/123408353\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?fit=800%2C572&amp;ssl=1\" data-orig-size=\"800,572\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;David Vinckboons, Paysans et soldats faisant la f\u00eate \/ Voor de herberg van het dorp, ca.1603-1608, dessin \/tekening, 27,1 X 37,6 cm, Amsterdam, Rijksmuseum \u00a9 Amsterdam, Rijksmuseum.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?fit=300%2C215&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?fit=665%2C475&amp;ssl=1\" class=\"size-full wp-image-10978\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?resize=665%2C475\" alt=\"\" width=\"665\" height=\"475\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?resize=300%2C215&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?resize=768%2C549&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408353.jpg?resize=180%2C129&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-10978\" class=\"wp-caption-text\">David Vinckboons, Paysans et soldats faisant la f\u00eate \/ Voor de herberg van het dorp, ca.1603-1608, dessin\u00a0 \u00a9 Amsterdam, Rijksmuseum.<\/figcaption><\/figure>\n<p>Une plong\u00e9e sans retenue dans deux si\u00e8cles de r\u00e9jouissances, de danses et de musique\u00a0! L&rsquo;exposition investit, pour la premi\u00e8re fois depuis la r\u00e9ouverture du mus\u00e9e en 2010, l&rsquo;ensemble des salles (1000m2).<\/p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"665\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/FvNhlrZoLu4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=fr-FR&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<p><span style=\"color: #ff9900\">I. Le parcours mus\u00e9ographique<\/span><\/p>\n<p><strong>La f\u00eate avant Bruegel\u2026<\/strong><\/p>\n<p>Les f\u00eates villageoises apparaissent dans l\u2019art avant Pieter Bruegel l\u2019Ancien notamment chez les graveurs allemands et suisses. Les estampes les plus connues sont sans nul doute celles de Albrecht D\u00fcrer avec ses paysans dansant au faci\u00e8s grossier et aux corps corpulent. Dans le m\u00eame registre figure La Grande Kermesse de Sebald Beham dans laquelle on retrouve les multiples sayn\u00e8tes qui seront par la suite exploit\u00e9es.<\/p>\n<p>D\u00e8s le premier tiers du XVIe si\u00e8cle avec le d\u00e9veloppement de la sc\u00e8ne de genre, les peintres flamands s\u2019approprient pleinement ces sujets leur donnant la plupart du temps une coloration satirique et\/ou moraliste.<\/p>\n<figure id=\"attachment_10970\" aria-describedby=\"caption-attachment-10970\" style=\"width: 820px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10970\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/capture-15\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?fit=820%2C322&amp;ssl=1\" data-orig-size=\"820,322\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513555&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;JOHANN-THEODOR DE BRY, SEBALD BEHAM, d\u2019apr\u00e8s, F\u00eate villageoise, eau-forte, Gravelines, collection du mus\u00e9e&lt;br \/&gt;\ndu dessin et de l\u2019estampe originale \u00a9 mus\u00e9e du dessin et de l\u2019estampe originale \/ Florian Kleinefenn. &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?fit=300%2C118&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?fit=665%2C261&amp;ssl=1\" class=\"size-full wp-image-10970\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?resize=665%2C261\" alt=\"\" width=\"665\" height=\"261\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?w=820&amp;ssl=1 820w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?resize=300%2C118&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?resize=768%2C302&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/Capture.jpg?resize=180%2C71&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-10970\" class=\"wp-caption-text\">JOHANN-THEODOR DE BRY, SEBALD BEHAM, d\u2019apr\u00e8s, F\u00eate villageoise, eau-forte, Gravelines, collection du mus\u00e9e<br \/>du dessin et de l\u2019estampe originale \u00a9 mus\u00e9e du dessin et de l\u2019estampe originale \/ Florian Kleinefenn.<\/figcaption><\/figure>\n<p><strong><span style=\"color: #000000\">La r\u00e9volution Bruegel !<\/span><\/strong><\/p>\n<p>Pieter Bruegel l\u2019Ancien n\u2019a peint que quatre tableaux concernant les f\u00eates : Le Combat de Carnaval et de Mardi gras (1559), deux noces villageoises (1566 \u2013 1567) et une kermesse (1567). Mais il est aussi l\u2019inventeur de plusieurs gravures dont La Danse de noce fut de nombreuses fois r\u00e9interpr\u00e9t\u00e9e par ses fils Pieter II et Jan I.<\/p>\n<p>Sacrement du mariage ou c\u00e9l\u00e9bration d\u2019un saint, ces f\u00eates religieuses sont propices \u00e0 des moments de liesse. Certes les d\u00e9bordements estompent leur caract\u00e8re sacr\u00e9. Mais \u00e0 l\u2019inverse de ses contemporains, Bruegel s\u2019\u00e9loigne d\u2019une vision satirique et pose davantage un regard bienveillant sur les r\u00e9jouissances paysannes. Une ode \u00e0 la joie de vivre !<\/p>\n<figure id=\"attachment_10971\" aria-describedby=\"caption-attachment-10971\" style=\"width: 508px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10971\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/aser-15\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?fit=508%2C444&amp;ssl=1\" data-orig-size=\"508,444\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513654&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;PIETER VAN DER HEYDEN, PIETER BRUEGEL L\u2019ANCIEN, d\u2019apr\u00e8s, La Danse de noce,&lt;br \/&gt;\nap. 1570, burin, Amsterdam, Rijksmuseum \u00a9 Amsterdam, Rijksmuseum&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?fit=300%2C262&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?fit=508%2C444&amp;ssl=1\" class=\"size-full wp-image-10971\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?resize=508%2C444\" alt=\"\" width=\"508\" height=\"444\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?w=508&amp;ssl=1 508w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?resize=300%2C262&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aser.jpg?resize=180%2C157&amp;ssl=1 180w\" sizes=\"auto, (max-width: 508px) 100vw, 508px\" \/><\/a><figcaption id=\"caption-attachment-10971\" class=\"wp-caption-text\">PIETER VAN DER HEYDEN, PIETER BRUEGEL L\u2019ANCIEN, d\u2019apr\u00e8s, La Danse de noce,<br \/>ap. 1570, burin, Amsterdam, Rijksmuseum \u00a9 Amsterdam, Rijksmuseum<\/figcaption><\/figure>\n<p><strong>Des \u0153uvres disparues de Bruegel ?<\/strong><\/p>\n<p>Les inventaires apr\u00e8s d\u00e9c\u00e8s laissent supposer que Pieter Bruegel l\u2019Ancien a peint davantage de sujets festifs. Preuve en est la derni\u00e8re d\u00e9couverte en 2010 d\u2019une huile sur toile repr\u00e9sentant La F\u00eate de la saint Martin (Madrid, mus\u00e9e du Prado). Le Cort\u00e8ge de noce vraisemblablement serait une invention de Pieter l\u2019Ancien qui nous est connue gr\u00e2ce aux reprises de ses fils Pieter II et Jan I.<\/p>\n<p>La <span style=\"color: #ff9900\">Kermesse avec la pi\u00e8ce de th\u00e9\u00e2tre<\/span> fut elle aussi rattach\u00e9e dans un premier temps \u00e0 Bruegel, pour finalement \u00eatre attribu\u00e9e \u00e0 Pieter Balten, l\u2019un de ses contemporains. Ce tableau connut un grand succ\u00e8s comme l\u2019attestent les nombreuses reprises et r\u00e9interpr\u00e9tations.<\/p>\n<p><strong>Balten et Van Cleve, des contemporains de Bruegel<\/strong><\/p>\n<p>Pieter Balten et Martin I van Cleve ont \u00e9t\u00e9 longtemps per\u00e7us comme des imitateurs de l\u2019Ancien Bruegel. Certes ils sont moins talentueux que le ma\u00eetre et plus enclins aux sayn\u00e8tes grivoises mais ils se d\u00e9marquent par des cr\u00e9ations tout \u00e0 fait personnelles. Aujourd\u2019hui on admet d\u2019ailleurs que Balten a m\u00eame pu inspirer Bruegel.<\/p>\n<p>Martin van Cleve, quant \u00e0 lui, se distingue \u00e0 la fois par ses choix iconographiques et par son style. Ainsi ses personnages se caract\u00e9risent par des yeux en forme de petite bille, par les bustes presque monolithes des hommes et par les visages ovo\u00efdes des femmes. Martin van Cleve tout comme Balten exercera une influence ind\u00e9niable sur Pieter II Brueghel.<\/p>\n<figure id=\"attachment_10973\" aria-describedby=\"caption-attachment-10973\" style=\"width: 683px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10973\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/njk-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?fit=683%2C480&amp;ssl=1\" data-orig-size=\"683,480\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513677&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;MARTIN I VAN CLEVE, Kermesse villageoise, huile sur bois, Collection priv\u00e9e\u00a9 Studio S\u00e9bert &amp;#8211; Artcurial&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?fit=300%2C211&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?fit=665%2C467&amp;ssl=1\" class=\"size-full wp-image-10973\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?resize=665%2C467\" alt=\"\" width=\"665\" height=\"467\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?w=683&amp;ssl=1 683w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?resize=300%2C211&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/njk.jpg?resize=180%2C127&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-10973\" class=\"wp-caption-text\">MARTIN I VAN CLEVE, Kermesse villageoise, huile sur bois, Collection priv\u00e9e\u00a9 Studio S\u00e9bert &#8211; Artcurial<\/figcaption><\/figure>\n<p><strong>Pieter II Brueghel, des mod\u00e8les revisit\u00e9s<\/strong><\/p>\n<p>Des deux fils de Pieter Bruegel l\u2019Ancien, Pieter II, qui est l\u2019ain\u00e9, fut celui qui s\u2019int\u00e9ressa le plus aux repr\u00e9sentations des kermesses villageoises. \u00c0 tel point que le succ\u00e8s de la f\u00eate bruegh\u00e9lienne lui revint en tr\u00e8s grande partie !<\/p>\n<p>Il a certes copi\u00e9 quelques \u0153uvres embl\u00e9matiques de son p\u00e8re mais les sujets festifs y finalement sont peu repr\u00e9sent\u00e9s. Ses sources d\u2019inspiration sont multiples et en les combinant, il parvient \u00e0 cr\u00e9er des compositions parfois innovantes. L\u2019Arbre de mai ou le Repas de noces en plein air sont en ce sens tout \u00e0 fait r\u00e9v\u00e9lateurs. Son style se distingue par un go\u00fbt pour le pittoresque et pour les comportements triviaux des paysans.<\/p>\n<figure id=\"attachment_10974\" aria-describedby=\"caption-attachment-10974\" style=\"width: 543px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10974\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/asert-7\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?fit=543%2C339&amp;ssl=1\" data-orig-size=\"543,339\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513711&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;PIETER II BRUEGHEL, Repas de noces en plein air, ap. 1616, huile sur bois, Maastricht,&lt;br \/&gt;\nBonnefantenmuseum \u00a9 Photography Peter Cox \/ Collection Bonnefantenmuseum \/ Loan of The&lt;br \/&gt;\nCultural Agency of the Netherlands&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?fit=300%2C187&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?fit=543%2C339&amp;ssl=1\" class=\"size-full wp-image-10974\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?resize=543%2C339\" alt=\"\" width=\"543\" height=\"339\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?w=543&amp;ssl=1 543w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?resize=300%2C187&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asert.jpg?resize=180%2C112&amp;ssl=1 180w\" sizes=\"auto, (max-width: 543px) 100vw, 543px\" \/><\/a><figcaption id=\"caption-attachment-10974\" class=\"wp-caption-text\">PIETER II BRUEGHEL, Repas de noces en plein air, ap. 1616, huile sur bois, Maastricht,<br \/>Bonnefantenmuseum \u00a9 Photography Peter Cox \/ Collection Bonnefantenmuseum \/ Loan of The<br \/>Cultural Agency of the Netherlands<\/figcaption><\/figure>\n<p><strong>L\u2019innovation Jan I Brueghel<\/strong><\/p>\n<p>Jan I Brueghel, fils cadet de Pieter l\u2019Ancien, n\u2019a peint que quelques f\u00eates, exprimant son art essentiellement dans deux genres : le paysage et les natures mortes avec ses impressionnants bouquets de fleurs.<\/p>\n<p>L\u2019empreinte de son p\u00e8re est tr\u00e8s pr\u00e9sente dans La Danse de noce et dans La Kermesse de la Saint-Georges qui sont certainement des \u0153uvres de d\u00e9but de carri\u00e8re cr\u00e9\u00e9es avant son d\u00e9part pour l\u2019Italie. L\u2019huile sur cuivre de la Royal Collection \u00e0 Londres, r\u00e9alis\u00e9e en 1600, marque, quant \u00e0 elle, un r\u00e9el tournant. Jan I parvient alors \u00e0 composer un panorama hors normes truff\u00e9 d\u2019une myriade de personnages lilliputiens, preuve incontestable de ses talents de miniaturistes et de coloriste.<\/p>\n<figure id=\"attachment_10983\" aria-describedby=\"caption-attachment-10983\" style=\"width: 800px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10983\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/attachment\/123408426\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?fit=800%2C554&amp;ssl=1\" data-orig-size=\"800,554\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jan I Brueghel, Une F\u00eate villageoise \/ Boerenkermis. Huile sur cuivre \/ Olieverf op koper, 1600 47,6 x 68,6 cm, Londres, The Royal Collection \u00a9 Royal Collection Trust \/ \u00a9 Her Majesty Queen Elizabeth II 2019&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?fit=300%2C208&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?fit=665%2C461&amp;ssl=1\" class=\"size-full wp-image-10983\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?resize=665%2C461\" alt=\"\" width=\"665\" height=\"461\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?resize=300%2C208&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?resize=768%2C532&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/123408426.jpg?resize=180%2C125&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-10983\" class=\"wp-caption-text\">Jan I Brueghel, Une F\u00eate villageoise \/ Boerenkermis. \u00a9 Her Majesty Queen Elizabeth II 2019<\/figcaption><\/figure>\n<p><strong>R\u00e9miniscences m\u00e9di\u00e9vales, Hans Bol et Jacob I Savery<\/strong><\/p>\n<p>Dans le dernier tiers du XVIe si\u00e8cle, Hans Bol, d\u00e9veloppe des panoramas saisis \u00e0 vol d\u2019oiseau dans la veine brueg\u00e9lienne. Mais dans le registre de la f\u00eate, les racines m\u00e9di\u00e9vales refont surface. Influenc\u00e9 par la miniature et l\u2019enluminure, domaines dans lesquels il s\u2019illustre, il agr\u00e9mente ses sc\u00e8nes de petits personnages qui d\u00e9ambulent dans l\u2019espace sans l\u2019int\u00e9grer.<\/p>\n<p>Soit les vides pr\u00e9dominent, soit la composition est satur\u00e9e. Les sayn\u00e8tes s\u2019articulent entre elles non par des jeux de lignes mais par une palette chatoyante. Jacob I Savery, qui fut son \u00e9l\u00e8ve, marche dans ses traces comme en t\u00e9moigne La F\u00eate villageoise de Bailleul, r\u00e9alis\u00e9e \u00e0 partir d\u2019une de ses gouaches.<\/p>\n<figure id=\"attachment_10975\" aria-describedby=\"caption-attachment-10975\" style=\"width: 646px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10975\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/asdert-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?fit=646%2C431&amp;ssl=1\" data-orig-size=\"646,431\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513734&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;JACOB I SAVERY, La F\u00eate villageoise \u00e0 Bailleul, ca 1620 ?, huile sur bois, Bailleul, mus\u00e9e Beno\u00eet-de-Puydt,&lt;br \/&gt;\n\u00a9 Bailleul, mus\u00e9e Beno\u00eet-De-Puydt, inv. 992.21.92 \/ Jacques Quecq d&amp;rsquo;Henripret &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?fit=646%2C431&amp;ssl=1\" class=\"size-full wp-image-10975\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?resize=646%2C431\" alt=\"\" width=\"646\" height=\"431\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?w=646&amp;ssl=1 646w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/asdert.jpg?resize=180%2C120&amp;ssl=1 180w\" sizes=\"auto, (max-width: 646px) 100vw, 646px\" \/><\/a><figcaption id=\"caption-attachment-10975\" class=\"wp-caption-text\">JACOB I SAVERY, La F\u00eate villageoise \u00e0 Bailleul, ca 1620 ?, huile sur bois, Bailleul, mus\u00e9e Beno\u00eet-de-Puydt,<br \/>\u00a9 Bailleul, mus\u00e9e Beno\u00eet-De-Puydt, inv. 992.21.92 \/ Jacques Quecq d&rsquo;Henripret<\/figcaption><\/figure>\n<p><strong>R\u00e9miniscences m\u00e9di\u00e9vales, David I Vinckboons<\/strong><\/p>\n<p>Tout comme Hans Bol et Jacob I Savery, Vinckboons, de confession protestante, quitte, la Flandre pour les Pays-Bas du nord mais son style demeure r\u00e9solument flamand. Ses kermesses villageoises endiabl\u00e9es montrent une r\u00e9elle synth\u00e8se entre paysage et personnages, ces derniers s\u2019inscrivant souvent au premier plan dans une frise.<\/p>\n<p>L\u2019une des \u0153uvres les plus diffus\u00e9es de Vinckboons est sans conteste la fameuse Kermesse de la Saint-Georges avec pour toile de fond le majestueux h\u00f4tel de ville d\u2019Audenarde. Le paradoxe est total puisqu\u2019il ne l\u2019a probablement jamais peinte. Il a con\u00e7u le dessin destin\u00e9 uniquement \u00e0 la gravure qui servit par la suite d\u2019inspiration \u00e0 de nombreux artistes.<\/p>\n<figure id=\"attachment_10976\" aria-describedby=\"caption-attachment-10976\" style=\"width: 648px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10976\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/aqsz\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?fit=648%2C404&amp;ssl=1\" data-orig-size=\"648,404\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562513753&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;DAVID VINCKBOONS, La Kermesse de la Saint-Georges avec l\u2019h\u00f4tel de ville d\u2019Audenarde, 1602, crayon,&lt;br \/&gt;\nencre brune et lavis sur papier, Copenhague, Statens Museum for Kunst&lt;br \/&gt;\n\u00a9 Statens Museum for Kunst, Copenhagen \/ Jakob Skou-Hansen &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?fit=300%2C187&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?fit=648%2C404&amp;ssl=1\" class=\"size-full wp-image-10976\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?resize=648%2C404\" alt=\"\" width=\"648\" height=\"404\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?w=648&amp;ssl=1 648w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?resize=300%2C187&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aqsz.jpg?resize=180%2C112&amp;ssl=1 180w\" sizes=\"auto, (max-width: 648px) 100vw, 648px\" \/><\/a><figcaption id=\"caption-attachment-10976\" class=\"wp-caption-text\">DAVID VINCKBOONS, La Kermesse de la Saint-Georges avec l\u2019h\u00f4tel de ville d\u2019Audenarde, 1602, crayon,<br \/>encre brune et lavis sur papier, Copenhague, Statens Museum for Kunst<br \/>\u00a9 Statens Museum for Kunst, Copenhagen \/ Jakob Skou-Hansen<\/figcaption><\/figure>\n<p><strong>Brouwer et Teniers, vers une autre forme de f\u00eate<\/strong><\/p>\n<p>Par sa touche tr\u00e8s vive, Brouwer parvient comme nul autre \u00e0 ciseler les trognes de ses rustres paysans. Son regard est sans concession. Il met l\u2019accent sur les travers des kermesses par quelques sayn\u00e8tes judicieusement choisies, dressant ainsi une v\u00e9ritable caricature des m\u0153urs villageoises.<\/p>\n<p>Dans son sillage, David II Teniers exploite les m\u00eames recettes comme en t\u00e9moignent ses figures st\u00e9r\u00e9otyp\u00e9es. Toutefois, il estompe la dimension satirique et donne davantage la primeur aux r\u00e9jouissances insouciantes. Par ailleurs, il parach\u00e8ve le mod\u00e8le dans lequel la taverne, mise en exergue, incarne \u00e0 elle seule la f\u00eate : le profane l\u2019emporte sur le sacr\u00e9 !<\/p>\n<p><strong>La f\u00eate se veut galante aussi !<\/strong><\/p>\n<p>Dans le dernier quart du XVIe si\u00e8cle, sous l\u2019impulsion notamment de David I Vinckboons, les peintres flamands renouent avec les sc\u00e8nes galantes. En effet loin du tourbillon des f\u00eates paysannes grivoises et populaires, Vinckboons r\u00e9serve \u00e0 ces convives de haute naissance un cadre idyllique propice \u00e0 la r\u00eaverie et \u00e0 l\u2019amour courtois. Mais de nombreuses allusions comme les instruments de musique ou encore les symboles tels les hu\u00eetres r\u00e9v\u00e8lent que la distinction de ces hommes et de ces femmes ne les emp\u00eache nullement d\u2019\u00e9viter les m\u00eames travers que ceux imput\u00e9s aux paysans. Amollis par de douces m\u00e9lodies, ils s\u2019abandonnent aux plaisirs de la chair parfois sans aucune retenue !<\/p>\n<figure id=\"attachment_10968\" aria-describedby=\"caption-attachment-10968\" style=\"width: 665px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10968\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/tgfr\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?fit=1024%2C658&amp;ssl=1\" data-orig-size=\"1024,658\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;DAVID VINCKBOONS, Sc\u00e8ne galante dans un jardin, ca 1610, huile sur bois, Amsterdam, Rijksmuseum,&lt;br \/&gt;\n\u00a9 Amsterdam, Rijksmuseum &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?fit=300%2C193&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?fit=665%2C427&amp;ssl=1\" class=\"size-large wp-image-10968\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr-1024x658.jpg?resize=665%2C427\" alt=\"\" width=\"665\" height=\"427\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?resize=300%2C193&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?resize=768%2C494&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/tgfr.jpg?resize=180%2C116&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-10968\" class=\"wp-caption-text\">DAVID VINCKBOONS, Sc\u00e8ne galante dans un jardin, ca 1610, huile sur bois, Amsterdam, Rijksmuseum,<br \/>\u00a9 Amsterdam, Rijksmuseum<\/figcaption><\/figure>\n<p><strong>Aux origines du Fils prodigue<\/strong><\/p>\n<p>Au milieu du XVIe si\u00e8cle, p\u00e9riode de pleine activit\u00e9 de Bruegel l\u2019Ancien, l\u2019histoire du Fils prodigue issue du Nouveau Testament sert aussi de pr\u00e9texte pour pointer les comportements licencieux et amoraux. Raffinement et grivoiserie s\u2019entrem\u00ealent sur un mode narratif synoptique : les diff\u00e9rents \u00e9pisodes \u00e9tant rassembl\u00e9s dans une m\u00eame image. La d\u00e9ch\u00e9ance incarn\u00e9e par l\u2019expulsion de la maison close et le repentir du fils agenouill\u00e9 devant son p\u00e8re sont deux moments cl\u00e9s toujours rel\u00e9gu\u00e9s dans les arri\u00e8re-plans. L\u2019avant- sc\u00e8ne, quant \u00e0 elle, met l\u2019accent sur les plaisirs de la musique et de la chair, exacerb\u00e9s par la pr\u00e9sence de quelques gourgandines. Le p\u00e9ch\u00e9 est absolu !<\/p>\n<figure id=\"attachment_10977\" aria-describedby=\"caption-attachment-10977\" style=\"width: 593px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"10977\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/fetes-et-kermesses-au-temps-des-brueghel\/aszer-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?fit=593%2C375&amp;ssl=1\" data-orig-size=\"593,375\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1562514012&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"F\u00eates et Kermesses au temps des Brueghel\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;FRANS I POURBUS, attribu\u00e9 \u00e0, La Parabole du Fils prodigue, huile sur bois, Anvers,&lt;br \/&gt;\nMus\u00e9e Mayer van den Bergh,&lt;br \/&gt;\n\u00a9 Collection Museum Mayer van den Bergh (Anvers) \/ Bart Huysmans &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?fit=300%2C190&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?fit=593%2C375&amp;ssl=1\" class=\"size-full wp-image-10977\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?resize=593%2C375\" alt=\"\" width=\"593\" height=\"375\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?w=593&amp;ssl=1 593w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?resize=300%2C190&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/07\/aszer.jpg?resize=180%2C114&amp;ssl=1 180w\" sizes=\"auto, (max-width: 593px) 100vw, 593px\" \/><\/a><figcaption id=\"caption-attachment-10977\" class=\"wp-caption-text\">FRANS I POURBUS, attribu\u00e9 \u00e0, La Parabole du Fils prodigue, huile sur bois, Anvers,<br \/>Mus\u00e9e Mayer van den Bergh,<br \/>\u00a9 Collection Museum Mayer van den Bergh (Anvers) \/ Bart Huysmans<\/figcaption><\/figure>\n<p><span style=\"color: #ff0000\">En savoir plus:<\/span><\/p>\n<p>Mus\u00e9e de Flandre<\/p>\n<p>26 Grand&rsquo; Place<br \/>\n59670 Cassel<\/p>\n<p>Exposition jusqu&rsquo;au 14 juillet<\/p>\n<p>Site internet: https:\/\/museedeflandre.fr\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alors que l\u2019Europe c\u00e9l\u00e8bre le 450e anniversaire de la mort de Pieter Bruegel l\u2019Ancien, le mus\u00e9e de Flandre se met au diapason de la f\u00eate au rythme d\u2018un joyeux cort\u00e8ge qui envahira toutes les salles. Nous avons tous en t\u00eate les kermesses flamandes endiabl\u00e9es avec les paysans qui dansent, boivent et ripaillent au son de [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":10986,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[12],"tags":[],"class_list":["post-10946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ 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