{"id":18073,"date":"2025-12-04T09:55:30","date_gmt":"2025-12-04T08:55:30","guid":{"rendered":"https:\/\/www.proantic.com\/magazine\/?p=18073"},"modified":"2025-12-04T09:55:30","modified_gmt":"2025-12-04T08:55:30","slug":"le-moyen-age-du-xixe-siecle-creations-et-faux-dans-les-arts-precieux","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/le-moyen-age-du-xixe-siecle-creations-et-faux-dans-les-arts-precieux\/","title":{"rendered":"Le moyen Age du XIXe si\u00e8cle -cr\u00e9ations et faux dans les arts pr\u00e9cieux"},"content":{"rendered":"\n

\u00a0Apr\u00e8s les \u00e9v\u00e9nements r\u00e9volutionnaires, le 19e<\/sup>\u00a0si\u00e8cle\u00a0red\u00e9couvre le Moyen \u00c2ge, tout en le r\u00e9interpr\u00e9tant.\u00a0Ce si\u00e8cle, qui cultiva une r\u00eaverie romantique et\u00a0connut d\u2019importants progr\u00e8s technologiques et la\u00a0constitution de grandes collections, s\u2019est inspir\u00e9 du\u00a0Moyen \u00c2ge en produisant des copies, des\u00a0pastiches, des oeuvres composites et des faux.\u00a0L\u2019exposition permet des confrontations, mettant en\u00a0regard certains objets m\u00e9di\u00e9vaux avec leurs\u00a0\u00ab\u00a0r\u00e9sonances\u00a0\u00bb du\u00a019e<\/sup>\u00a0si\u00e8cle.<\/strong><\/p>\n\n\n

\n
\"\"<\/a>
Ciboire de Ma\u00eetre G. Alpais
Attribu\u00e9 \u00e0 Ma\u00eetre G. Alpais
Limoges, vers 1200
\u00a9 GrandPalaisRmn (mus\u00e9e du Louvre) \/ Jean-Gilles Berizzi<\/figcaption><\/figure>\n<\/div>\n\n\n

Le propos est centr\u00e9 sur les arts pr\u00e9cieux, dans\u00a0leur acception m\u00e9di\u00e9vale : pi\u00e8ces d\u2019orf\u00e8vrerie\u00a0et d\u2019\u00e9maillerie, ivoires, tissus pr\u00e9cieux. Ces\u00a0domaines ont en effet connu au\u00a019e<\/sup>\u00a0si\u00e8cle un\u00a0foisonnement de red\u00e9couvertes techniques. Ces\u00a0ph\u00e9nom\u00e8nes culturels et artistiques \u00e9mergent\u00a0d\u00e8s les ann\u00e9es 1820-1830 jusqu\u2019\u00e0 la veille de la\u00a0Premi\u00e8re Guerre mondiale, soit pendant un si\u00e8cle\u00a0environ. Collectionneurs, ateliers de cr\u00e9ation et\u00a0de restauration, mais aussi faussaires, en sont les\u00a0principaux acteurs, autour d\u2019un march\u00e9 de l\u2019art en\u00a0pleine expansion, focalis\u00e9 sur Paris, qui appara\u00eet alors\u00a0comme la capitale des arts pr\u00e9cieux.<\/p>\n\n\n

\n
\"\"<\/a>
Reliquaire-monstrance
Faussaire D\u2019Hermange
Metz, vers 1850
\u00a9 GrandPalaisRmn (mus\u00e9e de Cluny – mus\u00e9e national du Moyen \u00c2ge) \/ Michel Urtado<\/figcaption><\/figure>\n<\/div>\n\n\n

Le parcours de l\u2019exposition s\u2019articule en quatre sections principales. Il met d\u2019abord en lumi\u00e8re les objets m\u00e9di\u00e9vaux devenus mod\u00e8les, \u00e0 travers leur \u00e9tude par le biais de publications, relev\u00e9s et dessins. Quelques-uns deviennent m\u00eame des objets iconiques, souvent copi\u00e9s comme le ciboire d\u2019Alpais ou l\u2019ange de Saint-Sulpice-les-Feuilles. En parall\u00e8le, des techniques m\u00e9di\u00e9vales d\u2019arts pr\u00e9cieux sont red\u00e9couvertes ou remises au go\u00fbt du jour.<\/p>\n\n\n

\n
\"\"<\/a>
Calice et pat\u00e8ne
Trioullier et fils
Paris, entre 1863 et 1875
\u00a9 Paris Mus\u00e9es \/ Petit Palais, mus\u00e9e des Beaux-Arts de la Ville de Paris<\/figcaption><\/figure>\n<\/div>\n\n\n

La seconde partie est consacr\u00e9e au r\u00f4le d\u00e9terminant des collectionneurs dans la constitution des premi\u00e8res grandes collections d\u2019art m\u00e9di\u00e9val, qu\u2019elles soient priv\u00e9es ou publiques. Elle \u00e9voque notamment celle d\u2019Alexandre Du Sommerard, \u00e0 l\u2019origine du mus\u00e9e de Cluny, ou celle d\u2019Alexandre Basilewsky, le \u00ab roi des collectionneurs \u00bb, qui poss\u00e9dait des \u0153uvres d\u2019art et curiosit\u00e9s telles que la corne d\u2019\u00e9lan de Saint-Arnoul aujourd\u2019hui conserv\u00e9e au Rijksmuseum d\u2019Amsterdam.<\/p>\n\n\n

\n
\"\"<\/a>
Chef-reliquaire dit de Ferdinand d\u2019Aragon
Espagne (Saragosse), vers 1500-1515 (t\u00eate), seconde
moiti\u00e9 du XIXe
si\u00e8cle (buste)
\u00a9 Mus\u00e9e du Louvre, Dist. GrandPalaisRmn \/ Philippe Fuzeau<\/figcaption><\/figure>\n<\/div>\n\n\n

La troisi\u00e8me section explore les cr\u00e9ations dans le go\u00fbt du Moyen \u00c2ge, qu\u2019il s\u2019agisse d\u2019imitations fid\u00e8les, de pastiches ou d\u2019objets composites combinant diff\u00e9rents styles, aussi bien dans le domaine religieux que profane. Des objets m\u00e9connus du XIXe si\u00e8cle provenant de la collection du mus\u00e9e de Cluny seront pr\u00e9sent\u00e9s pour la premi\u00e8re fois, comme un grand buste-reliquaire f\u00e9minin, ou encore une harpe en ivoire du mus\u00e9e de Louvre, consid\u00e9r\u00e9e comme m\u00e9di\u00e9vale lors de son acquisition.<\/p>\n\n\n

\n
\"\"<\/a>
Plaquette \u00e9maill\u00e9e : saint Matthieu et saint Luc
Atelier de Stepan Sabine-Gousse (?)
Russie (Saint-P\u00e9tersbourg?), XIX si\u00e8cle
\u00a9 GrandPalaisRmn (mus\u00e9e de Cluny – mus\u00e9e national
du Moyen \u00c2ge) \/ Michel Urtado<\/figcaption><\/figure>\n<\/div>\n\n\n

Enfin, la derni\u00e8re partie aborde la question des faux et usages de faux, dans un contexte o\u00f9 la demande des collectionneurs et la recherche de l\u2019objet rare alimentent l\u2019activit\u00e9 des faussaires et des marchands peu scrupuleux, \u00e0 l\u2019instar du marchand d\u2019antiquit\u00e9s Luigi Parmeggiani, alias Louis Marcy. <\/p>\n\n\n

\n
\"\"<\/a>
Plaquette d\u2019ivoire : couple de musiciens
France, XIXe
si\u00e8cle
\u00a9 GrandPalaisRmn (mus\u00e9e de Cluny – mus\u00e9e national du Moyen \u00c2ge) \/ Jean-Gilles Berizzi<\/figcaption><\/figure>\n<\/div>\n\n\n

Cette exploration est men\u00e9e \u00e0 partir des collections d\u2019arts pr\u00e9cieux du mus\u00e9e de Cluny, en dialogue avec des \u0153uvres emprunt\u00e9es \u00e0 d\u2019autres institutions fran\u00e7aises et \u00e9trang\u00e8res telles que le mus\u00e9e du Louvre, le mus\u00e9e d\u2019Orsay, le Mus\u00e9e des Arts D\u00e9coratifs, la Biblioth\u00e8que nationale de France, le tr\u00e9sor de la cath\u00e9drale de Nancy, le Victoria & Albert Museum \u00e0 Londres, le Palazzo Madama \u00e0 Turin, la Galleria Parmeggiani \u00e0 Reggio Emilia, etc. <\/p>\n\n\n\n

\u00ab\u00a0Le Moyen \u00c2ge du XIXe<\/sup>\u00a0si\u00e8cle, cr\u00e9ations et faux dans les arts pr\u00e9cieux\u00a0\u00bb, \u00a0Mus\u00e9e de Cluny\u00a0<\/strong>jusqu’ au 11 janvier 2026.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Apr\u00e8s les \u00e9v\u00e9nements r\u00e9volutionnaires, le 19e\u00a0si\u00e8cle\u00a0red\u00e9couvre le Moyen \u00c2ge, tout en le r\u00e9interpr\u00e9tant.\u00a0Ce si\u00e8cle, qui cultiva une r\u00eaverie romantique et\u00a0connut d\u2019importants progr\u00e8s technologiques et la\u00a0constitution de grandes collections, s\u2019est inspir\u00e9 du\u00a0Moyen \u00c2ge en produisant des copies, des\u00a0pastiches, des oeuvres composites et des faux.\u00a0L\u2019exposition permet des confrontations, mettant en\u00a0regard certains objets m\u00e9di\u00e9vaux avec leurs\u00a0\u00ab\u00a0r\u00e9sonances\u00a0\u00bb du\u00a019e\u00a0si\u00e8cle. Le […]<\/p>\n","protected":false},"author":6,"featured_media":18083,"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-18073","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions"],"yoast_head":"\nLe moyen Age du XIXe si\u00e8cle -cr\u00e9ations et faux dans les arts pr\u00e9cieux Le Magazine de Proantic<\/title>\n<meta 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