{"id":15761,"date":"2023-05-29T13:57:58","date_gmt":"2023-05-29T12:57:58","guid":{"rendered":"https:\/\/www.proantic.com\/magazine\/?p=15761"},"modified":"2023-05-29T13:59:26","modified_gmt":"2023-05-29T12:59:26","slug":"antoine-caron-1521-1599-le-theatre-de-lhistoire","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/antoine-caron-1521-1599-le-theatre-de-lhistoire\/","title":{"rendered":"Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l&rsquo;histoire"},"content":{"rendered":"\n<p><strong>Bien qu\u2019Antoine Caron ait\u00a0travaill\u00e9 successivement pour cinq monarques, de Fran\u00e7ois Ier\u00a0\u00e0 Henri IV, et pour la reine m\u00e8re Catherine de M\u00e9dicis, sa\u00a0carri\u00e8re n\u2019a pas fait l\u2019objet d\u2019une exposition \u00e0 la hauteur de sa\u00a0r\u00e9putation d\u2019alors. <\/strong>Gr\u00e2ce \u00e0 des oeuvres d\u2019Antoine Caron et de\u00a0son cercle (peintures, manuscrits, dessins, gravures,\u00a0tapisseries \u2026), certaines jamais pr\u00e9sent\u00e9es au public,\u00a0l\u2019exposition t\u00e9moigne des multiples facettes du g\u00e9nie et du\u00a0rayonnement de cet artiste oubli\u00e9, ainsi que de la polyvalence\u00a0du m\u00e9tier de peintre \u00e0 la Renaissance.\u00a0<\/p>\n\n\n\n<p>Pour cette occasion\u00a0sont r\u00e9unies, pour la premi\u00e8re fois en France depuis le XVIe\u00a0si\u00e8cle, les huit tapisseries de\u00a0<em>La Tenture des Valois<\/em>\u00a0command\u00e9e par Catherine de M\u00e9dicis.<br>\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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\/2OXtsLocjMc?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><strong>Un parcours in\u00e9dit et des pr\u00eats exceptionnels<\/strong><br><br>R\u00e9unissant plus de 90 oeuvres au coeur du ch\u00e2teau d\u2019\u00c9couen dans une architecture et un d\u00e9cor\u00a0contemporains\u00a0des cr\u00e9ations d\u2019Antoine Caron, l\u2019exposition interroge la place de cet artiste indissociable de la Renaissance\u00a0fran\u00e7aise comme inventeur, fournisseur de mod\u00e8les et dont l\u2019influence se perp\u00e9tue bien au-del\u00e0 de sa mort.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"534\" data-attachment-id=\"15762\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/antoine-caron-1521-1599-le-theatre-de-lhistoire\/a7a2d53ed5e1-6-suiveur-antoine-caron-fragmenttriomphe-du-printemps-site\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?fit=825%2C663&amp;ssl=1\" data-orig-size=\"825,663\" 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=\"Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l&amp;rsquo;histoire\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Fragment d&amp;rsquo;un Triomphe du Printemps Suiveur d\u2019Antoine Caron, Fin du XVIe-d\u00e9but du XVIIe si\u00e8cles, Huile sur toile, Nantes, mus\u00e9e d&amp;rsquo;Arts, 213 \u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Mathieu Rabeau&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?fit=300%2C241&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?fit=665%2C534&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?resize=665%2C534&#038;ssl=1\" alt=\"\" class=\"wp-image-15762\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?w=825&amp;ssl=1 825w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?resize=300%2C241&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/a7a2d53ed5e1-6-Suiveur-Antoine-Caron-FragmentTriomphe-du-Printemps-site.jpg?resize=768%2C617&amp;ssl=1 768w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption class=\"wp-element-caption\">Fragment d&rsquo;un Triomphe du Printemps Suiveur d\u2019Antoine Caron, Fin du XVIe-d\u00e9but du XVIIe si\u00e8cles, Huile sur toile, Nantes, mus\u00e9e d&rsquo;Arts, 213 \u00a9 RMN-Grand Palais (mus\u00e9e du Louvre) \/ Mathieu Rabeau<\/figcaption><\/figure>\n\n\n\n<p>\u00a0Le\u00a0parcours de l\u2019exposition revient sur le profil de l\u2019artiste dans le contexte de sa formation autour du chantier\u00a0du\u00a0ch\u00e2teau de Fontainebleau, notamment \u00e0 travers ses liens profonds avec les Italiens Primatice (1503-1570) et\u00a0Niccol\u00f2 dell\u2019Abate (1509-1571), mais surtout sur les \u00e9changes entre peinture, dessin, sculpture et tapisserie.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?ssl=1\" data-lightbox=\"gal[15761]\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"420\" data-attachment-id=\"15763\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/antoine-caron-1521-1599-le-theatre-de-lhistoire\/b01982ad5ad0-adoration-et-femme-masquee-site\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?fit=794%2C501&amp;ssl=1\" data-orig-size=\"794,501\" 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=\"Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l&amp;rsquo;histoire\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?fit=300%2C189&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?fit=665%2C420&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?resize=665%2C420&#038;ssl=1\" alt=\"\" class=\"wp-image-15763\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?w=794&amp;ssl=1 794w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?resize=300%2C189&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/b01982ad5ad0-adoration-et-femme-masquee-site.jpg?resize=768%2C485&amp;ssl=1 768w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><\/figure>\n\n\n\n<p>Dans ce contexte s\u2019affirme comme embl\u00e9matique le pr\u00eat consenti par la Galerie des Offices de Florence de la\u00a0c\u00e9l\u00e8bre Tenture des Valois, tiss\u00e9e \u00e0 Bruxelles pour Catherine de M\u00e9dicis et qui n\u2019a pas revu la France, dans\u00a0son\u00a0int\u00e9gralit\u00e9, depuis plus de quatre si\u00e8cles. En filigrane, ce sont des probl\u00e9matiques passionnantes de l\u2019art de\u00a0la\u00a0Renaissance qui se tissent : r\u00f4le du dessin, relations entre artiste et commanditaire, remise en question des\u00a0fronti\u00e8res traditionnellement \u00e9tablies entre art majeur et art mineur, entre artiste et artisan.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">La Tenture des Valois<\/h5>\n\n\n\n<p><em>La Tenture des Valois&nbsp;<\/em>a vraisemblablement \u00e9t\u00e9 command\u00e9e par Catherine de M\u00e9dicis. Elle en fait ensuite don \u00e0 sa petite-fille, Christine de Lorraine, au moment de son mariage avec Ferdinand Ier de M\u00e9dicis. Les huit tapisseries n\u2019ont pas \u00e9t\u00e9 revues ensemble depuis leur arriv\u00e9e \u00e0 Florence en 1589. Leur pr\u00e9sentation, c\u00f4te \u00e0 c\u00f4te, dans un d\u00e9cor contemporain de leur cr\u00e9ation, est donc tout \u00e0 fait exceptionnelle.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"644\" data-attachment-id=\"15764\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/antoine-caron-1521-1599-le-theatre-de-lhistoire\/760c24051803-10-catherine-de-medicis-ambassadeurs-polonais-tuileries-site-1\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?fit=826%2C800&amp;ssl=1\" data-orig-size=\"826,800\" 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=\"Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l&amp;rsquo;histoire\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;La R\u00e9ception des ambassadeurs polonais aux Tuileries Antoine Caron (d\u2019apr\u00e8s), ateliers de Bruxelles (Willem de Pannemaker ?)Fin des ann\u00e9es 1570Laine, soie, or et argent dor\u00e9Florence, Galleria degli Uffizi, 472\u00a9 Gabinetto fotografico delle Gallerie degli Uffizi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?fit=300%2C291&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?fit=665%2C644&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?resize=665%2C644&#038;ssl=1\" alt=\"\" class=\"wp-image-15764\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?w=826&amp;ssl=1 826w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?resize=300%2C291&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/760c24051803-10-Catherine-de-Medicis-ambassadeurs-polonais-Tuileries-site-1.jpg?resize=768%2C744&amp;ssl=1 768w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption class=\"wp-element-caption\">La R\u00e9ception des ambassadeurs polonais aux Tuileries Antoine Caron (d\u2019apr\u00e8s), ateliers de Bruxelles (Willem de Pannemaker ?) Fin des ann\u00e9es 1570 \u00a9 Gabinetto fotografico delle Gallerie degli Uffizi<\/figcaption><\/figure>\n\n\n\n<p>On associe les compositions \u00e0 plusieurs dessins de Caron r\u00e9alis\u00e9s vers 1573-1574, sous Charles IX. Au moment du tissage, sous le r\u00e8gne de son successeur, Henri III, c\u2019est d\u00e9sormais une imposante galerie de portraits de la famille royale et de la cour qui est mise \u00e0 l\u2019honneur devant de majestueuses festivit\u00e9s. On sait combien Catherine de M\u00e9dicis collectionnait les portraits. On retrouve ici son ouverture constante, au-del\u00e0 de la lign\u00e9e royale, vers les puissantes maisons du royaume. Dans le cadre d\u2019une comp\u00e9tition internationale, elle cherche aussi \u00e0 rivaliser avec les plus prestigieuses tentures dynastiques, narrant les hauts faits des grandes figures europ\u00e9ennes.<\/p>\n\n\n\n<p>La d\u00e9ambulation dans la galerie permet de comprendre la gen\u00e8se complexe de la tenture, probablement issue des ateliers du Bruxellois Willem de Pannemaker. Les lissiers devaient avoir une documentation vari\u00e9e, \u00e9voqu\u00e9e sur les lutrins, comprenant les feuilles de Caron ou des copies, des portraits grav\u00e9s, dessin\u00e9s ou peints.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"582\" height=\"700\" data-attachment-id=\"15765\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/antoine-caron-1521-1599-le-theatre-de-lhistoire\/571116285482-asaut-une-ile-etang-chateau-de-fontainebleau-site\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?fit=582%2C700&amp;ssl=1\" data-orig-size=\"582,700\" 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=\"Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l&amp;rsquo;histoire\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;L\u2019Assaut d\u2019une \u00eele sur l\u2019\u00e9tang du ch\u00e2teau de Fontainebleau \u00a9 Palermo Roberto  &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?fit=249%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?fit=582%2C700&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?resize=582%2C700&#038;ssl=1\" alt=\"\" class=\"wp-image-15765\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?w=582&amp;ssl=1 582w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2023\/05\/571116285482-Asaut-une-ile-etang-chateau-de-Fontainebleau-site.jpg?resize=249%2C300&amp;ssl=1 249w\" sizes=\"auto, (max-width: 582px) 100vw, 582px\" \/><\/a><figcaption class=\"wp-element-caption\">L\u2019Assaut d\u2019une \u00eele sur l\u2019\u00e9tang du ch\u00e2teau de Fontainebleau \u00a9 Palermo Roberto  <\/figcaption><\/figure>\n<\/div>\n\n\n<p>Le tissage se situe entre 1575, au moment o\u00f9 Henri III monte sur le tr\u00f4ne, et la fin des ann\u00e9es 1570, ce que confirment les costumes. Les f\u00eates de Charles IX sont transpos\u00e9es sous Henri III, dans un croisement strat\u00e9gique des temporalit\u00e9s. Les grandes heures de la cour de Charles IX sont c\u00e9l\u00e9br\u00e9es sous le r\u00e8gne de son fr\u00e8re comme l\u2019incarnation d\u2019un v\u00e9ritable \u00e2ge d\u2019or que l\u2019on cherche \u00e0 ressusciter.<\/p>\n\n\n\n<p>Dans le contexte tourment\u00e9 des Guerres de religion, la tenture r\u00e9pond \u00e0 un programme dynastique et diplomatique. Alors que la monarchie est s\u00e9v\u00e8rement affaiblie, il s\u2019agit de faire oublier la discorde familiale au profit d\u2019une image fantasm\u00e9e d\u2019\u00e9clat et d\u2019unit\u00e9, vraisemblablement port\u00e9e par la reine m\u00e8re pour ses enfants et son royaume.<\/p>\n\n\n\n<p><strong>Exposition \u00ab\u00a0Antoine Caron (1521-1599). Le th\u00e9\u00e2tre de l\u2019Histoire\u00a0\u00bb <\/strong>jusqu&rsquo;au 3 juillet 2023 Mus\u00e9e national de la Renaissance &#8211; ch\u00e2teau d\u2019\u00c9couen<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bien qu\u2019Antoine Caron ait\u00a0travaill\u00e9 successivement pour cinq monarques, de Fran\u00e7ois Ier\u00a0\u00e0 Henri IV, et pour la reine m\u00e8re Catherine de M\u00e9dicis, sa\u00a0carri\u00e8re n\u2019a pas fait l\u2019objet d\u2019une exposition \u00e0 la hauteur de sa\u00a0r\u00e9putation d\u2019alors. Gr\u00e2ce \u00e0 des oeuvres d\u2019Antoine Caron et de\u00a0son cercle (peintures, manuscrits, dessins, gravures,\u00a0tapisseries \u2026), certaines jamais pr\u00e9sent\u00e9es au public,\u00a0l\u2019exposition t\u00e9moigne des [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":15766,"comment_status":"closed","ping_status":"closed","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[12],"tags":[],"class_list":["post-15761","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>Antoine Caron (1521-1599). 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