{"id":11491,"date":"2019-10-27T12:06:46","date_gmt":"2019-10-27T11:06:46","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=11491"},"modified":"2019-10-27T12:08:15","modified_gmt":"2019-10-27T11:08:15","slug":"figure-dartiste","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/","title":{"rendered":"Figure d&rsquo;Artiste"},"content":{"rendered":"<p>La Petite Galerie du Louvre propose, pour sa 5e saison, une exposition intitul\u00e9e \u00ab Figure d\u2019artiste \u00bb. Elle accompagne le cycle d\u2019expositions que le mus\u00e9e consacre en 2019-2020 aux g\u00e9nies de la Renaissance : Vinci, Donatello, Michel-Ange ou Altdorfer.<\/p>\n<p>C\u2019est \u00e0 la Renaissance que l\u2019artiste affirme son ind\u00e9pendance et cherche \u00e0 quitter le statut d\u2019artisan pour revendiquer une place particuli\u00e8re dans la cit\u00e9. Cette invention de la figure de l\u2019Artiste a cependant une histoire plus ancienne et complexe que l\u2019ampleur des collections du Louvre permet de mesurer, des premi\u00e8res signatures d\u2019artisans dans l\u2019Antiquit\u00e9 aux autoportraits de l\u2019\u00e9poque romantique.<\/p>\n<figure id=\"attachment_11505\" aria-describedby=\"caption-attachment-11505\" style=\"width: 454px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11505\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat05_rm090010\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?fit=454%2C600&amp;ssl=1\" data-orig-size=\"454,600\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Ma\u00eetre Alpais, orf\u00e8vre actif \u00e0 Limoges (France) au XIIIe&lt;br \/&gt;\n si\u00e8cle apr\u00e8s J.&lt;br \/&gt;\n-C.&lt;br \/&gt;\nCiboire&lt;br \/&gt;\nVers 1200 apr\u00e8s J.-C.&lt;br \/&gt;\nCuivre \u00e9maill\u00e9 et dor\u00e9&lt;br \/&gt;\nFait tr\u00e8s rare au Moyen-\u00c2ge, l\u2019artisan revendique la cr\u00e9ation de son&lt;br \/&gt;\n\u0153uvre. Son nom figure en latin \u00e0 l\u2019int\u00e9rieur de la coupe destin\u00e9e \u00e0&lt;br \/&gt;\ncontenir les hosties consacr\u00e9es lors de la messe : \u00ab MAGISTER G.&lt;br \/&gt;\nALPAIS. ME FECIT. LEMOVICARUM \u00bb (Ma\u00eetre G. Alpais m\u2019a fait \u00e0&lt;br \/&gt;\nLimoges).&lt;br \/&gt;\n\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Jean-Gilles Berizzi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?fit=227%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?fit=454%2C600&amp;ssl=1\" class=\"size-full wp-image-11505\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?resize=454%2C600\" alt=\"\" width=\"454\" height=\"600\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?w=454&amp;ssl=1 454w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?resize=227%2C300&amp;ssl=1 227w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT05_RM090010.jpg?resize=136%2C180&amp;ssl=1 136w\" sizes=\"auto, (max-width: 454px) 100vw, 454px\" \/><\/a><figcaption id=\"caption-attachment-11505\" class=\"wp-caption-text\">Ma\u00eetre Alpais, orf\u00e8vre actif \u00e0 Limoges (France) au XIIIe si\u00e8cle.\u00a0<br \/>Fait tr\u00e8s rare au Moyen-\u00c2ge, l\u2019artisan revendique la cr\u00e9ation de son<br \/>\u0153uvre. Son nom figure en latin \u00e0 l\u2019int\u00e9rieur de la coupe destin\u00e9e \u00e0<br \/>contenir les hosties consacr\u00e9es lors de la messe : \u00ab MAGISTER G.<br \/>ALPAIS. ME FECIT. LEMOVICARUM \u00bb (Ma\u00eetre G. Alpais m\u2019a fait \u00e0<br \/>Limoges).<br \/>\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Jean-Gilles Berizzi<\/figcaption><\/figure>\n<p>La signature, l\u2019autoportrait,\u00a0 l\u2019invention du genre de la biographie d\u2019artiste servent son dessein : mettre en images les mots et acc\u00e9der \u00e0 la renomm\u00e9e accord\u00e9e aux po\u00e8tes\u00a0 inspir\u00e9s par les Muses. En France, l\u2019Acad\u00e9mie royale de peinture et de sculpture et le Salon, premi\u00e8re exposition temporaire d\u2019art contemporain, apportent, sous le regard de la critique, la reconnaissance et les commandes aux artistes avant qu\u2019ils ne soient consacr\u00e9s par leur entr\u00e9e au mus\u00e9e. C\u2019est ainsi que le lien ancien entre les arts visuels et les textes\u00a0 a conduit \u00e0 inviter, cette ann\u00e9e, la litt\u00e9rature pour un dialogue f\u00e9cond entre textes et images.<\/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\/YPS5BT1ZO8I?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>SALLE 1 &#8211; SIGNATURES<\/p>\n<p>Les Grecs et les Romains confondaient dans un m\u00eame terme l\u2019\u00ab artiste \u00bb et l\u2019\u00ab artisan \u00bb, tekhnit\u00e8s en grec et artifex en latin. Jusqu\u2019\u00e0 la Renaissance, l\u2019artisan n\u2019\u00e9tait pas consid\u00e9r\u00e9 comme un cr\u00e9ateur autonome. Relevant des arts m\u00e9caniques ou manuels, l\u2019\u00ab artiste-artisan \u00bb exer\u00e7ait son m\u00e9tier dans un atelier, ayant acquis par l\u2019apprentissage un savoir-faire technique traditionnel qui laissait peu de place \u00e0 la cr\u00e9ation individuelle.<\/p>\n<p><figure id=\"attachment_11506\" aria-describedby=\"caption-attachment-11506\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11506\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat01_rm121443\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?fit=800%2C479&amp;ssl=1\" data-orig-size=\"800,479\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Nicosth\u00e9n\u00e8s, potier actif \u00e0 Ath\u00e8nes (Gr\u00e8ce actuelle), vers 540 avant&lt;br \/&gt;\nJ.-C.&lt;br \/&gt;\nFragment de coupe&lt;br \/&gt;\nVers 530-520 avant J.-C.&lt;br \/&gt;\nArgile&lt;br \/&gt;\nSur ce fragment est repr\u00e9sent\u00e9e Art\u00e9mis, d\u00e9esse grecque de la&lt;br \/&gt;\nchasse, \u00f4tant une fl\u00e8che de son carquois. Au-dessus appara\u00eet une&lt;br \/&gt;\npartie de la signature du potier Nicosth\u00e9n\u00e8s : [Nic]osth\u00e9n\u00e9s [potier].&lt;br \/&gt;\nLa signature, signe de l\u2019excellence du potier, peut aussi signifier,&lt;br \/&gt;\ntelle une marque, la renomm\u00e9e acquise par l\u2019atelier.&lt;br \/&gt;\n\u00a9 RMN-Grand Palais (mus\u00e9e du&lt;br \/&gt;\nLouvre) \/ St\u00e9phane Mar\u00e9challe &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?fit=300%2C180&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?fit=665%2C398&amp;ssl=1\" class=\"wp-image-11506\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?resize=650%2C389\" alt=\"\" width=\"650\" height=\"389\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?resize=300%2C180&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?resize=768%2C460&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT01_RM121443.jpg?resize=180%2C108&amp;ssl=1 180w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\" \/><\/a><figcaption id=\"caption-attachment-11506\" class=\"wp-caption-text\">Nicosth\u00e9n\u00e8s, potier actif \u00e0 Ath\u00e8nes (Gr\u00e8ce actuelle), vers 540 avant J.-C.<br \/>Fragment de coupe<br \/>Sur ce fragment est repr\u00e9sent\u00e9e Art\u00e9mis, d\u00e9esse grecque de la<br \/>chasse, \u00f4tant une fl\u00e8che de son carquois. Au-dessus appara\u00eet une<br \/>partie de la signature du potier Nicosth\u00e9n\u00e8s : [Nic]osth\u00e9n\u00e9s [potier].<br \/>La signature, signe de l\u2019excellence du potier, peut aussi signifier,<br \/>telle une marque, la renomm\u00e9e acquise par l\u2019atelier.<br \/>\u00a9 RMN-Grand Palais (mus\u00e9e du<br \/>Louvre) \/ St\u00e9phane Mar\u00e9challe<\/figcaption><\/figure>Pourtant, d\u00e8s l\u2019Antiquit\u00e9, certains de ces professionnels sortirent de l\u2019anonymat, comme l\u2019indiquent des objets portant leurs noms, voire quelques \u00e9l\u00e9ments biographiques. Ces mentions ou ces signatures, le plus souvent complexes \u00e0 interpr\u00e9ter, pouvaient proclamer la notori\u00e9t\u00e9 d\u2019un atelier ou l\u2019excellence d\u2019une production. Progressivement, avec la naissance d\u2019une histoire de l\u2019art et d\u2019un march\u00e9 de l\u2019art, certains de ces artisans us\u00e8rent de la signature pour valoriser leurs cr\u00e9ations.<\/p>\n<figure id=\"attachment_11507\" aria-describedby=\"caption-attachment-11507\" style=\"width: 591px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11507\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat09_bc100046\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?fit=591%2C600&amp;ssl=1\" data-orig-size=\"591,600\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean Fouquet&lt;br \/&gt;\nAutoportrait&lt;br \/&gt;\nVers 1452&lt;br \/&gt;\n\u00c9mail et cama\u00efeu d\u2019or sur cuivre&lt;br \/&gt;\nFouquet se repr\u00e9sente sur ce m\u00e9daillon qui ornait \u00e0 l\u2019origine le cadre&lt;br \/&gt;\nd\u2019un diptyque peint pour Etienne Chevalier, tr\u00e9sorier du roi de France&lt;br \/&gt;\nCharles VII (1422-1461). Le peintre r\u00e9alise le premier autoportrait de la&lt;br \/&gt;\npeinture fran\u00e7aise, dans lequel, fait totalement in\u00e9dit, il ajoute \u00e0 son&lt;br \/&gt;\neffigie sa signature, \u00ab JOHES FOUQUET \u00bb, v\u00e9ritable affirmation de soi&lt;br \/&gt;\net de son statut d\u2019artiste.&lt;br \/&gt;\n\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ St\u00e9phane Mar\u00e9challe&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?fit=296%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?fit=591%2C600&amp;ssl=1\" class=\"size-full wp-image-11507\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?resize=591%2C600\" alt=\"\" width=\"591\" height=\"600\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?w=591&amp;ssl=1 591w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?resize=296%2C300&amp;ssl=1 296w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT09_BC100046.jpg?resize=177%2C180&amp;ssl=1 177w\" sizes=\"auto, (max-width: 591px) 100vw, 591px\" \/><\/a><figcaption id=\"caption-attachment-11507\" class=\"wp-caption-text\">Jean Fouquet<br \/>Autoportrait Vers 1452, \u00c9mail et cama\u00efeu d\u2019or sur cuivre<br \/>Fouquet se repr\u00e9sente sur ce m\u00e9daillon qui ornait \u00e0 l\u2019origine le cadre<br \/>d\u2019un diptyque peint pour Etienne Chevalier, tr\u00e9sorier du roi de France<br \/>Charles VII (1422-1461). Le peintre r\u00e9alise le premier autoportrait de la<br \/>peinture fran\u00e7aise, dans lequel, fait totalement in\u00e9dit, il ajoute \u00e0 son<br \/>effigie sa signature, \u00ab JOHES FOUQUET \u00bb, v\u00e9ritable affirmation de soi<br \/>et de son statut d\u2019artiste.<br \/>\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ St\u00e9phane Mar\u00e9challe<\/figcaption><\/figure>\n<p>SALLE 2 &#8211; AUTOPORTRAITS<\/p>\n<p>\u00c0 la Renaissance, architectes, sculpteurs et peintres cherchent \u00e0 s\u2019\u00e9manciper de leur statut d\u2019artisan. Participant pleinement \u00e0 la culture humaniste, les peintres, particuli\u00e8rement, affirment cette pr\u00e9tention en cultivant le genre de l\u2019autoportrait. Digne de se repr\u00e9senter \u00e0 l\u2019\u00e9gal des princes, le peintre se met en sc\u00e8ne et livre ainsi ses r\u00e9flexions sur l\u2019acte cr\u00e9ateur. La peinture et les arts figur\u00e9s pr\u00e9tendent alors rivaliser avec la litt\u00e9rature. Les \u00e9crivains, quant \u00e0 eux, ont cherch\u00e9 \u00e0 traduire les \u0153uvres d\u2019art en mots dans un exercice de description-\u00e9vocation.<\/p>\n<figure id=\"attachment_11508\" aria-describedby=\"caption-attachment-11508\" style=\"width: 459px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11508\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat11_rm113435\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?fit=459%2C600&amp;ssl=1\" data-orig-size=\"459,600\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Albrecht D\u00fcrer&lt;br \/&gt;\nPortrait de l\u2019artiste tenant un chardon&lt;br \/&gt;\n1493&lt;br \/&gt;\nParchemin coll\u00e9 sur toile&lt;br \/&gt;\nCet autoportrait de D\u00fcrer \u00e2g\u00e9 de vingt-deux ans est consid\u00e9r\u00e9&lt;br \/&gt;\ncomme le premier de la Renaissance allemande. L\u2019artiste se choisit&lt;br \/&gt;\ncomme motif unique et non plus comme simple figurant d\u2019un&lt;br \/&gt;\ntableau d\u2019histoire. Il s\u2019est repr\u00e9sent\u00e9 \u00e0 plusieurs reprises au cours de&lt;br \/&gt;\nsa vie. Un de ses dessins le montre m\u00eame \u00e0 l\u2019\u00e2ge de treize ans. La&lt;br \/&gt;\nsignification symbolique de cet autoportrait reste ouverte : allusion&lt;br \/&gt;\naux fian\u00e7ailles de D\u00fcrer ou \u00e0 la Passion du Christ, le chardon&lt;br \/&gt;\npouvant \u00eatre interpr\u00e9t\u00e9 comme le symbole de la fid\u00e9lit\u00e9 ou rappeler&lt;br \/&gt;\nla couronne d\u2019\u00e9pines. Quoi qu\u2019il en soit, l\u2019\u00e9l\u00e9gant jeune homme&lt;br \/&gt;\naffirme son individualit\u00e9. Impr\u00e9gn\u00e9 de culture humaniste et&lt;br \/&gt;\nconscient d\u2019\u00eatre plus qu\u2019un bon artisan, il revendique avec fiert\u00e9 le&lt;br \/&gt;\nstatut d\u2019artiste.&lt;br \/&gt;\n\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Thierry Ollivier &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?fit=230%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?fit=459%2C600&amp;ssl=1\" class=\"size-full wp-image-11508\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?resize=459%2C600\" alt=\"\" width=\"459\" height=\"600\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?w=459&amp;ssl=1 459w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?resize=230%2C300&amp;ssl=1 230w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT11_RM113435.jpg?resize=138%2C180&amp;ssl=1 138w\" sizes=\"auto, (max-width: 459px) 100vw, 459px\" \/><\/a><figcaption id=\"caption-attachment-11508\" class=\"wp-caption-text\">Albrecht D\u00fcrer<br \/>Portrait de l\u2019artiste tenant un chardon 1493<br \/>Parchemin coll\u00e9 sur toile<br \/>Cet autoportrait de D\u00fcrer \u00e2g\u00e9 de vingt-deux ans est consid\u00e9r\u00e9<br \/>comme le premier de la Renaissance allemande. L\u2019artiste se choisit<br \/>comme motif unique et non plus comme simple figurant d\u2019un<br \/>tableau d\u2019histoire. Il s\u2019est repr\u00e9sent\u00e9 \u00e0 plusieurs reprises au cours de<br \/>sa vie. Un de ses dessins le montre m\u00eame \u00e0 l\u2019\u00e2ge de treize ans. La<br \/>signification symbolique de cet autoportrait reste ouverte : allusion<br \/>aux fian\u00e7ailles de D\u00fcrer ou \u00e0 la Passion du Christ, le chardon<br \/>pouvant \u00eatre interpr\u00e9t\u00e9 comme le symbole de la fid\u00e9lit\u00e9 ou rappeler<br \/>la couronne d\u2019\u00e9pines. Quoi qu\u2019il en soit, l\u2019\u00e9l\u00e9gant jeune homme<br \/>affirme son individualit\u00e9. Impr\u00e9gn\u00e9 de culture humaniste et<br \/>conscient d\u2019\u00eatre plus qu\u2019un bon artisan, il revendique avec fiert\u00e9 le<br \/>statut d\u2019artiste.<br \/>\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Thierry Ollivier<\/figcaption><\/figure>\n<p>SALLE 3 &#8211; VIES D\u2019ARTISTES<\/p>\n<p>Dans la Gr\u00e8ce des 5e et 4e si\u00e8cles avant J.-C., les peintres tels Zeuxis ou Apelle, et les sculpteurs, parmi lesquels Phidias et Praxit\u00e8le, ont acquis reconnaissance et prestige au sein de la cit\u00e9. L\u2019histoire de l\u2019art naissante t\u00e9moigne du go\u00fbt pour l\u2019attribution d\u2019\u0153uvres \u00e0 des artistes connus. Au Ier si\u00e8cle apr\u00e8s J.-C., l\u2019auteur romain Pline l\u2019Ancien (23-79) reprend cette tradition dans son Histoire naturelle. Ces vies d\u2019artistes antiques deviennent des sources d\u2019inspiration. Le peintre et historien de l\u2019art italien, Vasari (1511-1574) reprend cette veine biographique lorsqu\u2019il publie en 1550 \u00e0 Florence les Vies des plus excellents architectes, peintres et sculpteurs, de Cimabue (1240-1302) \u00e0 Michel-Ange (1475-1564). Comme leurs illustres pr\u00e9d\u00e9cesseurs antiques, les Vies des artistes de la Renaissance deviennent \u00e0 leur tour des mod\u00e8les \u00e0 m\u00e9diter et \u00e0 imiter.<\/p>\n<figure id=\"attachment_11509\" aria-describedby=\"caption-attachment-11509\" style=\"width: 583px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11509\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat24_ld060408\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?fit=583%2C600&amp;ssl=1\" data-orig-size=\"583,600\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Groupe de V\u00e9nus et Cupidon&lt;br \/&gt;\nIIe&lt;br \/&gt;\n si\u00e8cle apr\u00e8s J.-C.&lt;br \/&gt;\nTrouv\u00e9 \u00e0 Rome ?&lt;br \/&gt;\nMarbre&lt;br \/&gt;\nCe groupe sculpt\u00e9 r\u00e9unit V\u00e9nus, d\u00e9esse romaine de l\u2019amour,&lt;br \/&gt;\net son fils Cupidon. Sur la plinthe, une inscription en grec&lt;br \/&gt;\nancien attribue l\u2019\u0153uvre au fameux sculpteur du IVe si\u00e8cle&lt;br \/&gt;\navant J.-C. Praxit\u00e8le. La signature (\u00ab PRAXITELES&lt;br \/&gt;\nEPOIESEN \u00bb), probablement moderne, veut sugg\u00e9rer&lt;br \/&gt;\nl\u2019identification de la statue \u00e0 la c\u00e9l\u00e8bre Aphrodite drap\u00e9e de&lt;br \/&gt;\nCos, connue par un passage de l\u2019Histoire naturelle de&lt;br \/&gt;\nl\u2019auteur romain Pline l\u2019Ancien (23-79 apr\u00e8s J.-C.).&lt;br \/&gt;\n\u00a9 Mus\u00e9e du Louvre, dist. RMN-Grand Palais \/ Daniel Leb\u00e9e et Carine Deambrosis &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?fit=292%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?fit=583%2C600&amp;ssl=1\" class=\"size-full wp-image-11509\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?resize=583%2C600\" alt=\"\" width=\"583\" height=\"600\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?w=583&amp;ssl=1 583w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?resize=292%2C300&amp;ssl=1 292w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT24_LD060408.jpg?resize=175%2C180&amp;ssl=1 175w\" sizes=\"auto, (max-width: 583px) 100vw, 583px\" \/><\/a><figcaption id=\"caption-attachment-11509\" class=\"wp-caption-text\">Groupe de V\u00e9nus et Cupidon IIe si\u00e8cle apr\u00e8s J.-C.<br \/>Ce groupe sculpt\u00e9 r\u00e9unit V\u00e9nus, d\u00e9esse romaine de l\u2019amour,<br \/>et son fils Cupidon. Sur la plinthe, une inscription en grec<br \/>ancien attribue l\u2019\u0153uvre au fameux sculpteur du IVe si\u00e8cle<br \/>avant J.-C. Praxit\u00e8le. La signature (\u00ab PRAXITELES<br \/>EPOIESEN \u00bb), probablement moderne, veut sugg\u00e9rer<br \/>l\u2019identification de la statue \u00e0 la c\u00e9l\u00e8bre Aphrodite drap\u00e9e de<br \/>Cos, connue par un passage de l\u2019Histoire naturelle de<br \/>l\u2019auteur romain Pline l\u2019Ancien (23-79 apr\u00e8s J.-C.).<br \/>\u00a9 Mus\u00e9e du Louvre, dist. RMN-Grand Palais \/ Daniel Leb\u00e9e et Carine Deambrosis<\/figcaption><\/figure>\n<p>SALLE 4 &#8211; L\u2019ACADEMIE ET LE SALON<\/p>\n<p>En France, l\u2019Acad\u00e9mie royale de peinture et de sculpture, fond\u00e9e en 1648, est plac\u00e9e sous la protection du roi Louis XIV (1643- 1715). Au 18e si\u00e8cle, elle a son si\u00e8ge au Louvre, o\u00f9 sont conserv\u00e9es ses collections, notamment de portraits et d\u2019autoportraits d\u2019acad\u00e9miciens. La nouvelle institution artistique r\u00e9pond au d\u00e9sir d\u2019un certain nombre d\u2019artistes de s\u2019affranchir de la tutelle des corporations de m\u00e9tiers, qui enferment les peintres et les sculpteurs dans un syst\u00e8me hi\u00e9rarchis\u00e9. Dispensant un enseignement fond\u00e9 sur le dessin d\u2019apr\u00e8s le mod\u00e8le vivant et l\u2019Antique, l\u2019Acad\u00e9mie \u00e9l\u00e8ve la peinture et la sculpture au rang d\u2019arts nobles dits \u00ab arts lib\u00e9raux \u00bb.<\/p>\n<figure id=\"attachment_11511\" aria-describedby=\"caption-attachment-11511\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11511\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat28_rm163626\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?fit=800%2C567&amp;ssl=1\" data-orig-size=\"800,567\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Acad\u00e9mie royale de peinture et de sculpture&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?fit=300%2C213&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?fit=665%2C471&amp;ssl=1\" class=\"wp-image-11511\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?resize=600%2C425\" alt=\"\" width=\"600\" height=\"425\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?resize=300%2C213&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?resize=768%2C544&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT28_RM163626.jpg?resize=180%2C128&amp;ssl=1 180w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-11511\" class=\"wp-caption-text\">Acad\u00e9mie royale de peinture et de sculpture<\/figcaption><\/figure>\n<p>Aux 17e et 18e si\u00e8cles, une quinzaine de femmes sont admises dans ses rangs. Les acad\u00e9miciens sont re\u00e7us apr\u00e8s avoir pr\u00e9sent\u00e9 un \u00ab morceau de r\u00e9ception \u00bb. En 1793, la R\u00e9volution fran\u00e7aise supprime l\u2019Acad\u00e9mie royale et cr\u00e9e l\u2019Acad\u00e9mie des beaux-arts, dont l\u2019influence est progressivement contest\u00e9e au cours du 19e si\u00e8cle.<\/p>\n<figure id=\"attachment_11510\" aria-describedby=\"caption-attachment-11510\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11510\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/figure-dartiste\/cat36_rm152183\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?fit=800%2C534&amp;ssl=1\" data-orig-size=\"800,534\" 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=\"Figure d&amp;rsquo;artiste\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Fran\u00e7ois-Joseph Heim&lt;br \/&gt;\nCharles X (1824-1830) distribuant des r\u00e9compenses aux artistes exposants du&lt;br \/&gt;\nSalon de 1824 au Louvre, le 15 janvier 1825&lt;br \/&gt;\n1825, Salon de 1827&lt;br \/&gt;\nHuile sur toile&lt;br \/&gt;\nCette peinture documente la vie artistique sous le r\u00e8gne de Charles X (1824-&lt;br \/&gt;\n1830), commanditaire du tableau. Heim repr\u00e9sente le moment o\u00f9 le roi remet&lt;br \/&gt;\nau sculpteur Cartellier sa r\u00e9compense, le cordon de l\u2019ordre de Saint-Michel.&lt;br \/&gt;\nL\u2019\u00e9v\u00e8nement, qui prend place dans le Salon carr\u00e9, au premier \u00e9tage du Louvre,&lt;br \/&gt;\nrassemble le monde artistique et litt\u00e9raire de l\u2019\u00e9poque. La c\u00e9r\u00e9monie officielle et&lt;br \/&gt;\nmondaine rappelle l\u2019importance du Salon et le r\u00f4le de l\u2019Etat dans la carri\u00e8re des&lt;br \/&gt;\nartistes.&lt;br \/&gt;\n\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Philippe Fuzeau &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?fit=665%2C444&amp;ssl=1\" class=\"wp-image-11510\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?resize=600%2C401\" alt=\"\" width=\"600\" height=\"401\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?resize=768%2C513&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/10\/CAT36_RM152183.jpg?resize=180%2C120&amp;ssl=1 180w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-11510\" class=\"wp-caption-text\">Fran\u00e7ois-Joseph Heim<br \/>Charles X (1824-1830) distribuant des r\u00e9compenses aux artistes exposants du<br \/>Salon de 1824 au Louvre, le 15 janvier 1825<br \/>1825, Salon de 1827<br \/>Huile sur toile<br \/>Cette peinture documente la vie artistique sous le r\u00e8gne de Charles X (1824-<br \/>1830), commanditaire du tableau. Heim repr\u00e9sente le moment o\u00f9 le roi remet<br \/>au sculpteur Cartellier sa r\u00e9compense, le cordon de l\u2019ordre de Saint-Michel.<br \/>L\u2019\u00e9v\u00e8nement, qui prend place dans le Salon carr\u00e9, au premier \u00e9tage du Louvre,<br \/>rassemble le monde artistique et litt\u00e9raire de l\u2019\u00e9poque. La c\u00e9r\u00e9monie officielle et<br \/>mondaine rappelle l\u2019importance du Salon et le r\u00f4le de l\u2019Etat dans la carri\u00e8re des<br \/>artistes.<br \/>\u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Philippe Fuzeau<\/figcaption><\/figure>\n<p>D\u00e8s le 17e si\u00e8cle, l\u2019Acad\u00e9mie royale de peinture et de sculpture organise des expositions d\u2019\u0153uvres de ses membres. Ouvertes au public, elles se tiennent r\u00e9guli\u00e8rement de 1737 \u00e0 1848 dans le Salon carr\u00e9 du Louvre, d\u2019o\u00f9 leur nom de \u00ab Salons \u00bb. Reflet de la cr\u00e9ation artistique fran\u00e7aise, le Salon favorise la naissance de la critique d\u2019art et contribue gr\u00e2ce aux commandes \u00e0 asseoir la notori\u00e9t\u00e9 des artistes. Il offre aux artistes femmes une lente reconnaissance.<\/p>\n<p>Apr\u00e8s la R\u00e9volution fran\u00e7aise et la disparition de l\u2019Acad\u00e9mie royale de peinture et de sculpture, le Salon perdure sous la tutelle de l\u2019Acad\u00e9mie des beaux-arts et s\u2019ouvre \u00e0 tous les artistes. \u00c9v\u00e9nement majeur de la vie artistique, son succ\u00e8s est consid\u00e9rable au cours du 19e si\u00e8cle. Si le Salon permet \u00e0 ceux qui sont expos\u00e9s de faire carri\u00e8re, les \u00ab Refus\u00e9s \u00bb, toujours plus nombreux, contestent sa supr\u00e9matie, jusqu\u2019\u00e0 obtenir du pouvoir l\u2019ouverture du Salon des Refus\u00e9s en 1863.<\/p>\n<p><span style=\"color: #ff0000\">En savoir plus:<\/span><\/p>\n<p>jusqu&rsquo;au 29 juin 2020<\/p>\n<p><strong>Lieu :<\/strong><br \/>\nPetite Galerie, aile Richelieu<\/p>\n<p>https:\/\/petitegalerie.louvre.fr<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La Petite Galerie du Louvre propose, pour sa 5e saison, une exposition intitul\u00e9e \u00ab Figure d\u2019artiste \u00bb. Elle accompagne le cycle d\u2019expositions que le mus\u00e9e consacre en 2019-2020 aux g\u00e9nies de la Renaissance : Vinci, Donatello, Michel-Ange ou Altdorfer. C\u2019est \u00e0 la Renaissance que l\u2019artiste affirme son ind\u00e9pendance et cherche \u00e0 quitter le statut d\u2019artisan [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":11513,"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-11491","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\/ -->\n<title>Figure d&#039;Artiste Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"La Petite Galerie du Louvre propose, pour sa 5e saison, une exposition intitul\u00e9e \u00ab Figure d\u2019artiste \u00bb. 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