{"id":15048,"date":"2022-11-10T18:21:16","date_gmt":"2022-11-10T17:21:16","guid":{"rendered":"https:\/\/www.proantic.com\/magazine\/?p=15048"},"modified":"2022-11-10T18:52:03","modified_gmt":"2022-11-10T17:52:03","slug":"les-choses-une-histoire-de-la-nature-morte","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/","title":{"rendered":"Les Choses &#8211; Une histoire de la nature morte"},"content":{"rendered":"\n<p><strong>La nature morte retrouve enfin les honneurs d\u2019une grande exposition parisienne, 70 ans apr\u00e8s la derni\u00e8re r\u00e9trospective \u00e0 l\u2019Orangerie en 1952.<\/strong><\/p>\n\n\n\n<p>Avec l\u2019exposition \u00abLes choses \u00bb le Louvre remet \u00e0 l\u2019honneur un genre souvent consid\u00e9r\u00e9 comme mineur malgr\u00e9 son succ\u00e8s aupr\u00e8s des amateurs: la nature morte. L\u2019expression fran\u00e7aise \u00abnature morte \u00bb, n\u00e9e \u00e0 la fin du 17e si\u00e8cle, d\u00e9finit mal ce qui est en r\u00e9alit\u00e9 la repr\u00e9sentation d\u2019un amoncellement de choses, parfois bien vivantes, associ\u00e9es selon un ordre choisi par l\u2019artiste. Le mot \u00ab chose \u00bb adopt\u00e9 par l\u2019exposition semble donc plus ad\u00e9quat pour traiter cette th\u00e9matique dans son ensemble.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"743\" data-attachment-id=\"15051\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131990091\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?fit=716%2C800&amp;ssl=1\" data-orig-size=\"716,800\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Vanit\u00e9. Memento mori. Naples, Museo Archeologico Nazionale \u00a9 Su concessione del Ministero della Cultura-Museo Archeologico Nazionale di Napoli-foto di Giorgio Albano&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?fit=269%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?fit=665%2C743&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?resize=665%2C743&#038;ssl=1\" alt=\"\" class=\"wp-image-15051\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?w=716&amp;ssl=1 716w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?resize=269%2C300&amp;ssl=1 269w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990091.jpg?resize=161%2C180&amp;ssl=1 161w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Vanit\u00e9. Memento mori. Naples, Museo Archeologico Nazionale \u00a9 Su concessione del Ministero della Cultura-Museo Archeologico Nazionale di Napoli-foto di Giorgio Albano<\/figcaption><\/figure>\n\n\n\n<p>Depuis les d\u00e9buts de l\u2019humanit\u00e9, les hommes s\u2019int\u00e9ressent \u00e0 l\u2019observation et \u00e0 la repr\u00e9sentation des choses. Celles-ci occupent une place importante dans nos vies en tant qu\u2019objets mat\u00e9riels, bien s\u00fbr, mais \u00e9galement symboliques. Leur repr\u00e9sentation a donc beaucoup \u00e0 nous apprendre sur l\u2019\u00e9volution de la pens\u00e9e, et sur la vie quotidienne d\u2019hier \u00e0 aujourd\u2019hui. Le genre de la nature morte permet ainsi d\u2019entrevoir les croyances, les peurs ou encore les d\u00e9sirs et les r\u00eaves de l\u2019\u00eatre humain, au fil des \u00e9poques et dans diverses cultures. Il nous invite aussi \u00e0 questionner notre attachement actuel aux choses, entre surconsommation et pr\u00e9occupations environnementales et \u00e9cologiques. <\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\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\/MEjVbTu315k?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<\/div><\/figure>\n\n\n\n<p>L\u2019exposition pr\u00e9sente pr\u00e8s de 170 \u0153uvres r\u00e9parties en 15 sections chronologiques allant de la Pr\u00e9histoire au 21e si\u00e8cle. Si la nature morte ne devient un genre pictural ind\u00e9pendant qu\u2019au 17e si\u00e8cle, les premi\u00e8res sections de l\u2019exposition montrent que l\u2019histoire de la repr\u00e9sentation des choses commence bien avant cette date. Les haches pr\u00e9historiques (3500 avant notre \u00e8re), expos\u00e9es en d\u00e9but de parcours, t\u00e9moignent de la volont\u00e9 de repr\u00e9senter les choses avant l\u2019invention de l\u2019\u00e9criture. Dans l\u2019Antiquit\u00e9, en \u00c9gypte ou en M\u00e9sopotamie, les choses repr\u00e9sent\u00e9es sur les bas-reliefs ou les tables d\u2019offrandes fun\u00e9raires accompagnent les morts pour qu\u2019ils ne manquent de rien dans l\u2019au-del\u00e0.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"800\" data-attachment-id=\"15052\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131989361\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?fit=620%2C800&amp;ssl=1\" data-orig-size=\"620,800\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Ecole allemande, Armoire aux bouteilles et aux livres, vers 1470. Peinture sur bois. Colmar, Mus\u00e9e Unterlinden \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\/2022\/11\/131989361.jpg?fit=233%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?fit=620%2C800&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?resize=620%2C800&#038;ssl=1\" alt=\"\" class=\"wp-image-15052\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?w=620&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?resize=233%2C300&amp;ssl=1 233w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989361.jpg?resize=140%2C180&amp;ssl=1 140w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><figcaption>Ecole allemande, Armoire aux bouteilles et aux livres, vers 1470. Peinture sur bois. Colmar, Mus\u00e9e Unterlinden \u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ St\u00e9phane Mar\u00e9challe.<\/figcaption><\/figure>\n\n\n\n<p> On croit souvent \u00e0 tort que l\u2019art du Moyen \u00c2ge abandonne la repr\u00e9sentation des choses pour privil\u00e9gier celle du divin. Or, si elles ne sont plus repr\u00e9sent\u00e9es pour elles-m\u00eames, les choses sont n\u00e9anmoins pr\u00e9sentes dans l\u2019art religieux, en tant qu\u2019objets symboliques, tant en Orient qu\u2019en Occident. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"795\" data-attachment-id=\"15053\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131989698\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?fit=669%2C800&amp;ssl=1\" data-orig-size=\"669,800\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Giuseppe Arcimboldo, L&amp;rsquo;Automne, 1573. Mus\u00e9e du Louvre, D\u00e9partement des Peintures \u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Franck Raux&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?fit=251%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?fit=665%2C795&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?resize=665%2C795&#038;ssl=1\" alt=\"\" class=\"wp-image-15053\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?w=669&amp;ssl=1 669w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?resize=251%2C300&amp;ssl=1 251w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989698.jpg?resize=151%2C180&amp;ssl=1 151w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Giuseppe Arcimboldo, L&rsquo;Automne, 1573. Mus\u00e9e du Louvre, D\u00e9partement des Peintures \u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Franck Raux<\/figcaption><\/figure>\n\n\n\n<p>La derni\u00e8re grande manifestation autour de la nature morte,\u00a0<em>La nature morte de l\u2019Antiquit\u00e9 au XX<sup>e<\/sup>\u00a0si\u00e8cle<\/em>, fut organis\u00e9e en 1952 \u00e0 Paris par Charles\u00a0Sterling, conservateur au Louvre. La pr\u00e9sente exposition rend hommage \u00e0 ce grand historien de l\u2019art ; il ne s&rsquo;agit pourtant pas d&rsquo;un remake, mais de repartir de nos savoirs et de notre mentalit\u00e9 contemporaine. Le point de vue int\u00e8gre tout ce qui a renouvel\u00e9 les techniques de repr\u00e9sentation et les perspectives, tant en histoire de l\u2019art ancien et contemporain, qu\u2019en litt\u00e9rature, po\u00e9sie,\u00a0philosophie, arch\u00e9ologie, anthropologie, science ou \u00e9cologie.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"481\" data-attachment-id=\"15054\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131989246\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?fit=800%2C579&amp;ssl=1\" data-orig-size=\"800,579\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Louise Moillon (1610 &amp;#8211; 1696), Coupe de cerises, prunes et melon, vers 1633, huile sur bois, Mus\u00e9e du Louvre, D\u00e9partement des Peintures. \u00a9 2012 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Michel Urtado&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?fit=300%2C217&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?fit=665%2C481&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?resize=665%2C481&#038;ssl=1\" alt=\"\" class=\"wp-image-15054\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?resize=300%2C217&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?resize=768%2C556&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989246.jpg?resize=180%2C130&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Louise Moillon (1610 &#8211; 1696), Coupe de cerises, prunes et melon, vers 1633, huile sur bois, Mus\u00e9e du Louvre, D\u00e9partement des Peintures. \u00a9 2012 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Michel Urtado<\/figcaption><\/figure>\n\n\n\n<p>Elargissant les fronti\u00e8res chronologiques et g\u00e9ographiques, l\u2019exposition ouvre des fen\u00eatres sur\u00a0d\u2019autres cultures qui ont repr\u00e9sent\u00e9 les choses en majest\u00e9, y compris quand elles n&rsquo;\u00e9taient plus montr\u00e9es pour elles-m\u00eames dans l&rsquo;Occident chr\u00e9tien \u2013 du VI\u00e8me\u00a0au XVI<sup>e<\/sup>\u00a0si\u00e8cle. Elle revisite le genre de la nature morte, dans la perspective de l\u2019\u00e9ternel dialogue entre les artistes du pr\u00e9sent et ceux du pass\u00e9, dans un renouvellement permanent du regard : des haches pr\u00e9historiques au readymade\u00a0de Duchamp, en passant par les agencements \u00e9tonnants d\u2019Arcimboldo, de Clara Peeters, Louise Moillon, Zurbar\u00e1n, Chardin, Anne Vallayer-Coster, Manet, De Chirico, Mir\u00f3, Nan Goldin, Ron Mueck et bien d\u2019autres.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"520\" data-attachment-id=\"15055\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131989057\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?fit=800%2C625&amp;ssl=1\" data-orig-size=\"800,625\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean Baptiste Sim\u00e9on Chardin (Paris, 1699 &amp;#8211; Paris, 1779), Pipes et vase \u00e0 boire, dit aussi La Tabagie, 1750 \/ 1775, huile sur toile, Mus\u00e9e du Louvre, D\u00e9partement des Peintures. \u00a9 2010 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\/2022\/11\/131989057.jpg?fit=300%2C234&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?fit=665%2C520&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?resize=665%2C520&#038;ssl=1\" alt=\"\" class=\"wp-image-15055\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?resize=300%2C234&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?resize=768%2C600&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131989057.jpg?resize=180%2C141&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Jean Baptiste Sim\u00e9on Chardin (Paris, 1699 &#8211; Paris, 1779), Pipes et vase \u00e0 boire, dit aussi La Tabagie, 1750 \/ 1775, huile sur toile, Mus\u00e9e du Louvre, D\u00e9partement des Peintures. \u00a9 2010 RMN-Grand Palais (mus\u00e9e du Louvre) \/ St\u00e9phane Mar\u00e9challe.<\/figcaption><\/figure>\n\n\n\n<p>La repr\u00e9sentation des choses par les artistes s\u2019impr\u00e8gne d\u2019une grande vari\u00e9t\u00e9 de pratiques et d\u2019id\u00e9es, de croyances et de sentiments, qui inspirent les mouvements de la soci\u00e9t\u00e9 autant qu\u2019elles ne s\u2019en font l\u2019\u00e9cho. \u00c0 l\u2019int\u00e9rieur d\u2019un code reconnu voire rebattu, la simplicit\u00e9 des choses invite les artistes \u00e0 des libert\u00e9s formelles inou\u00efes.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"500\" data-attachment-id=\"15056\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131990255\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?fit=800%2C602&amp;ssl=1\" data-orig-size=\"800,602\" 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=\"Les Choses. Une histoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Edouard Manet, L&amp;rsquo;Asperge, 1880, mus\u00e9e d&amp;rsquo;Orsay \u00a9 Mus\u00e9e d&amp;rsquo;Orsay, Dist. RMN Grand-Palais \/ Patrice-Schmidt&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?fit=300%2C226&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?fit=665%2C500&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?resize=665%2C500&#038;ssl=1\" alt=\"\" class=\"wp-image-15056\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?resize=300%2C226&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?resize=768%2C578&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990255.jpg?resize=180%2C135&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Edouard Manet, L&rsquo;Asperge, 1880, mus\u00e9e d&rsquo;Orsay \u00a9 Mus\u00e9e d&rsquo;Orsay, Dist. RMN Grand-Palais \/ Patrice-Schmidt<\/figcaption><\/figure>\n\n\n\n<p>Le genre de la nature morte doit \u00e9galement \u00eatre reconsid\u00e9r\u00e9 \u00e0 la faveur de l\u2019attachement contemporain aux choses ainsi qu\u2019aux relations nouvelles qui s\u2019\u00e9tablissent entre le vivant et le non-vivant. Cette exposition contient forc\u00e9ment les pr\u00e9occupations d&rsquo;aujourd&rsquo;hui : les d\u00e9fis \u00e9cologiques, les nouveaux droits des animaux et des choses (des for\u00eats en particulier), tandis que certaines persistances, comme celle du th\u00e8me de la Vanit\u00e9, r\u00e9v\u00e8lent des v\u00e9rit\u00e9s anthropologiques profondes.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"521\" data-attachment-id=\"15057\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/les-choses-une-histoire-de-la-nature-morte\/attachment\/131990323\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?fit=800%2C627&amp;ssl=1\" data-orig-size=\"800,627\" 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=\"Les Choses. Une hhistoire de la nature morte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Vincent Van Gogh, La Chambre de Van Gogh \u00e0 Arles, Septembre 1889, Mus\u00e9e d&amp;rsquo;Orsay \u00a9 Mus\u00e9e d&amp;rsquo;Orsay, Dist. RMN Grand-Palais \/ Herv\u00e9 Lewandowski&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?fit=300%2C235&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?fit=665%2C521&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?resize=665%2C521&#038;ssl=1\" alt=\"\" class=\"wp-image-15057\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?resize=300%2C235&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?resize=768%2C602&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2022\/11\/131990323.jpg?resize=180%2C141&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><figcaption>Vincent Van Gogh, La Chambre de Van Gogh \u00e0 Arles, Septembre 1889, Mus\u00e9e d&rsquo;Orsay \u00a9 Mus\u00e9e d&rsquo;Orsay, Dist. RMN Grand-Palais \/ Herv\u00e9 Lewandowski<\/figcaption><\/figure>\n\n\n\n<p>En proposant un dialogue permanent entre \u0153uvres anciennes et contemporaines, l\u2019exposition invite \u00e0 embrasser une histoire globale de la repr\u00e9sentation des choses \u00e0 travers diff\u00e9rents m\u00e9diums artistiques tels que la peinture, la sculpture, la vid\u00e9o, le cin\u00e9ma ou encore la photographie. <\/p>\n\n\n\n<p><a href=\"https:\/\/www.louvre.fr\/\">Mus\u00e9e du Louvre<\/a> &#8211; Exposition jusqu&rsquo;au 23 janvier 2023<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La nature morte retrouve enfin les honneurs d\u2019une grande exposition parisienne, 70 ans apr\u00e8s la derni\u00e8re r\u00e9trospective \u00e0 l\u2019Orangerie en 1952. Avec l\u2019exposition \u00abLes choses \u00bb le Louvre remet \u00e0 l\u2019honneur un genre souvent consid\u00e9r\u00e9 comme mineur malgr\u00e9 son succ\u00e8s aupr\u00e8s des amateurs: la nature morte. L\u2019expression fran\u00e7aise \u00abnature morte \u00bb, n\u00e9e \u00e0 la fin [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":15058,"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-15048","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>Les Choses - Une histoire de la nature morte Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"La nature morte retrouve enfin les honneurs d\u2019une grande exposition parisienne, 70 ans apr\u00e8s la derni\u00e8re r\u00e9trospective \u00e0 l\u2019Orangerie en 1952. 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