{"id":18551,"date":"2026-08-19T10:46:23","date_gmt":"2026-08-19T09:46:23","guid":{"rendered":"https:\/\/www.proantic.com\/magazine\/?p=18551"},"modified":"2026-08-19T10:46:23","modified_gmt":"2026-08-19T09:46:23","slug":"jardins-des-lumieres-1750-1800","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/jardins-des-lumieres-1750-1800\/","title":{"rendered":"Jardins des Lumi\u00e8res, 1750-1800"},"content":{"rendered":"\n

Le ch\u00e2teau de Versailles pr\u00e9sente sa nouvelle exposition,\u00a0Jardins des Lumi\u00e8res, 1750-1800<\/em>, au Grand Trianon,\u00a0une d\u00e9couverte in\u00e9dite du jardin paysager au XVIIIe\u00a0si\u00e8cle.<\/strong> R\u00e9unissant pr\u00e8s de 160 \u0153uvres parmi lesquelles peintures, dessins, mobilier, projets d\u2019architecture et costumes, le parcours met en lumi\u00e8re, \u00e0 travers une sc\u00e9nographie spectaculaire, la naissance d’un art du paysage affranchi des r\u00e8gles du jardin \u00e0 la fran\u00e7aise, c\u00e9l\u00e9brant l’irr\u00e9gularit\u00e9, la fantaisie et l’\u00e9vocation philosophique de la nature. En dialogue \u00e9troit avec les jardins command\u00e9s par Marie-Antoinette au Petit Trianon, l\u2019exposition offre une\u00a0relecture sensible de sites embl\u00e9matiques que le public pourra d\u00e9couvrir ensuite, tels que le Belv\u00e9d\u00e8re, le temple de\u00a0l\u2019Amour et le Hameau de la Reine.\u00a0<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Des jardins d’illusion<\/strong><\/p>\n\n\n\n

L’exposition retrace les d\u00e9buts du landscape garden<\/em>, pleasure garden<\/em> ou picturesque garden<\/em>, une mode qui na\u00eet en Angleterre dans les ann\u00e9es 1730 et qui traduit une nouvelle mani\u00e8re de penser le jardin. Loin du trac\u00e9 g\u00e9om\u00e9trique du jardin \u00e0 la fran\u00e7aise, les jardiniers et architectes imaginent des trac\u00e9s sinueux, d’apparence libres mais savamment orchestr\u00e9s, dans lesquels reliefs, cours d\u2019eau, grottes et fabriques dessinent un monde en miniature. Ces compositions paysag\u00e8res sont alors commun\u00e9ment appel\u00e9es \u00ab jardins anglo-chinois \u00bb ou \u00ab jardins anglais \u00bb. Les toiles d’Hubert Robert permettront aux visiteurs de se plonger dans ces d\u00e9cors capables de susciter l’\u00e9motion, la surprise et la contemplation. <\/p>\n\n\n

\n
\"\"<\/a>
Dragon, \u00e9l\u00e9ment de chenet, anonyme, 1720\/1730, bronze dor\u00e9, \u00a9 Mus\u00e9e des Arts D\u00e9coratifs, Paris<\/figcaption><\/figure>\n<\/div>\n\n\n

Ces paysages sont pens\u00e9s comme des espaces de voyage et de d\u00e9couverte. Les r\u00e9f\u00e9rences \u00e0 l\u2019Antiquit\u00e9, \u00e0 l\u2019Orient, aux cultures europ\u00e9ennes et aux civilisations lointaines nourrissent une mise en sc\u00e8ne sensible. Des maquettes anciennes en forme de pyramides, de temples et de pagodes chinoises illustreront la multitude d’univers convoqu\u00e9s en un lieu. <\/p>\n\n\n\n

\"\"<\/a>
Jean-Honor\u00e9 Fragonard (1732-1806), F\u00eate \u00e0 Saint-Cloud,1775\/1780, huile sur toile – \u00a9 Photo : Banque de France<\/figcaption><\/figure>\n\n\n\n

En effet, le jardin se con\u00e7oit d\u00e9sormais comme une promenade qui permet de voyager de la Rome ou de la Gr\u00e8ce antiques \u00e0 la Chine, de la montagne \u00e0 la ferme, de parcourir l\u2019histoire des nations de l\u2019\u00c9gypte aux Saxons, ou encore d\u2019\u00e9voquer les hommes illustres antiques ou contemporains.<\/p>\n\n\n\n

\u00c0 travers la d\u00e9couverte d’objets d\u00e9coratifs, de dessins et de plans d’inspiration orientale, le public pourra se figurer l’influence majeure qu’a l’ailleurs sur l’imaginaire de la soci\u00e9t\u00e9 du XVIIIe<\/sup>\u00a0si\u00e8cle.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Reflets des id\u00e9es des Lumi\u00e8res, les jardins incarnent \u00e9galement une nouvelle relation au monde et \u00e0 la nature. L\u2019influence de Rousseau est omnipr\u00e9sente : ses descriptions de la nature \u00e0 Ermenonville, les d\u00e9bats sur l\u2019\u00e9ducation, la promenade, la m\u00e9ditation ou la r\u00eaverie impr\u00e8gnent ces espaces. Le paysage devient ainsi un langage, un espace de r\u00e9flexion autant qu\u2019un lieu d\u2019\u00e9motion.\u00a0<\/p>\n\n\n\n

L’art du paysage s’invitait aussi jusque dans l’intimit\u00e9.\u00a0Ainsi, \u00e0 travers la r\u00e9union exceptionnelle de quatre toiles d\u2019Hubert Robert pr\u00eat\u00e9es par le Metropolitan Museum of Art de New-York, l’exposition restituera le d\u00e9cor de la salle de bain du ch\u00e2teau de Bagatelle afin de plonger le visiteur dans l\u2019atmosph\u00e8re spectaculaire et immersive de cette pi\u00e8ce.<\/p>\n\n\n

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\"\"<\/a>
Barom\u00e8tre-thermom\u00e8tre fa\u00e7on pagode chinoise, anonyme, 1720\/1730, bois, laque, d\u00e9cor en laque d’or, bronze dor\u00e9, fleurs en porcelaine \u00a9 Mus\u00e9e des Arts D\u00e9coratifs, Paris<\/figcaption><\/figure>\n<\/div>\n\n\n

Vie au jardin<\/h2>\n\n\n\n

La seconde partie de l\u2019exposition invitera le public \u00e0 entrer dans l\u2019intimit\u00e9 de ces paysages habit\u00e9s, o\u00f9 se joue une transformation des modes de vie aristocratiques \u00e0 la fin de l\u2019Ancien R\u00e9gime. <\/strong><\/p>\n\n\n\n

Ces jardins favorisent l\u2019\u00e9mergence d\u2019une vie de campagne \u00e9l\u00e9gante et largement fantasm\u00e9e.\u00a0Les usages \u00e9voluent tout comme les apparences\u2009: v\u00eatements plus l\u00e9gers, chapeaux de paille tress\u00e9e, mobilier de jardin, accessoires adapt\u00e9s \u00e0 la vie ext\u00e9rieure, comme en t\u00e9moignent les portraits peints par \u00c9lisabeth Vig\u00e9e Le Brun et George Romney. Le jardin devient un espace de sociabilit\u00e9 raffin\u00e9, o\u00f9 se m\u00ealent intimit\u00e9, repr\u00e9sentation et libert\u00e9.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

V\u00e9ritables laboratoires de cr\u00e9ation, les fabriques et leurs d\u00e9cors donnent naissance \u00e0 des formes in\u00e9dites de mobilier et d\u2019objets<\/strong>. Inspir\u00e9es de l\u2019Antiquit\u00e9, de l\u2019exotisme ou du monde rustique, ces pi\u00e8ces hybrides traduisent une inventivit\u00e9 sans pr\u00e9c\u00e9dent. Table en bambou pour la pagode de Chanteloup, tabouret de concr\u00e9tions de grotte conserv\u00e9 au Bowes Museum ou encore les chaises de roseaux pour la Chaumi\u00e8re aux coquillages de Rambouillet seront pr\u00e9sent\u00e9s dans l’exposition. Ils t\u00e9moignent du prolongement de l\u2019esth\u00e9tique du paysage dans les usages quotidiens o\u00f9 s\u2019estompe la fronti\u00e8re entre nature, architecture et arts d\u00e9coratifs.<\/p>\n\n\n

\n
\"\"<\/a>
Panneau de laque de l’H\u00f4tel du Ch\u00e2telet, Anonyme, 1771 \u00a9 Mus\u00e9e des Arts D\u00e9coratifs, Paris<\/figcaption><\/figure>\n<\/div>\n\n\n

La derni\u00e8re partie de l’exposition sera consacr\u00e9e au jardin en tant que sc\u00e8ne festive, cadre de f\u00eates somptueuses<\/strong>. Illuminations, spectacles, et jeux nocturnes transforment les paysages en d\u00e9cors \u00e9ph\u00e9m\u00e8res, propices \u00e0 l\u2019\u00e9merveillement et \u00e0 l\u2019illusion. Les peintres Claude-Louis Chatelet et Louis-Nicolas de Lespinasse saisissent ces instants suspendus, o\u00f9 le jardin devient le th\u00e9\u00e2tre d\u2019un art de vivre h\u00e9doniste, joyeux et profond\u00e9ment moderne, comme en t\u00e9moignent par exemple les fausses \u00e9ruptions volcaniques de Worlitz.\u00a0<\/p>\n\n\n\n

Exposition jusqu’au 27 septembre 2026, au Grand Trianon<\/p>\n","protected":false},"excerpt":{"rendered":"

Le ch\u00e2teau de Versailles pr\u00e9sente sa nouvelle exposition,\u00a0Jardins des Lumi\u00e8res, 1750-1800, au Grand Trianon,\u00a0une d\u00e9couverte in\u00e9dite du jardin paysager au XVIIIe\u00a0si\u00e8cle. R\u00e9unissant pr\u00e8s de 160 \u0153uvres parmi lesquelles peintures, dessins, mobilier, projets d\u2019architecture et costumes, le parcours met en lumi\u00e8re, \u00e0 travers une sc\u00e9nographie spectaculaire, la naissance d’un art du paysage affranchi des r\u00e8gles du […]<\/p>\n","protected":false},"author":6,"featured_media":18560,"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-18551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions"],"yoast_head":"\nJardins des Lumi\u00e8res, 1750-1800 Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"Le ch\u00e2teau de 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