{"id":4281,"date":"2015-12-05T13:16:31","date_gmt":"2015-12-05T12:16:31","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=4281"},"modified":"2015-12-06T16:55:37","modified_gmt":"2015-12-06T15:55:37","slug":"exposition-lyon-renaissance","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/","title":{"rendered":"Exposition Lyon Renaissance"},"content":{"rendered":"<p style=\"text-align: justify;\">L\u2019exposition a pour ambition de r\u00e9v\u00e9ler la richesse de la vie artistique lyonnaise au XVIe si\u00e8cle. La position g\u00e9ographique exceptionnelle de la ville, \u00e0 la rencontre des deux voies fluviales que sont le Rh\u00f4ne et la Sa\u00f4ne, sur la route entre le Nord de l\u2019Europe et l\u2019Italie, mais aussi \u00e0 proximit\u00e9 des contr\u00e9es germaniques, explique qu\u2019elle soit le point de convergence de marchands, d\u2019artistes et d\u2019\u0153uvres issus des quatre points cardinaux.<\/p>\n<figure id=\"attachment_4302\" aria-describedby=\"caption-attachment-4302\" style=\"width: 1600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4302\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/panneau-brode-avec-un-decor-grotesque\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?fit=1600%2C374&amp;ssl=1\" data-orig-size=\"1600,374\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;16&quot;,&quot;credit&quot;:&quot;image of the MMA \/ RMN-GP&quot;,&quot;camera&quot;:&quot;Hasselblad H4D-50MS - Hasselblad H4D&quot;,&quot;caption&quot;:&quot;Salomon Bernard (vers 1508- vers 1561) (d&#039;apr\\u00e8s). Etats-Unis, New-York, The Metropolitan Museum of Art. 56.27.&quot;,&quot;created_timestamp&quot;:&quot;1428537600&quot;,&quot;copyright&quot;:&quot;image of the MMA&quot;,&quot;focal_length&quot;:&quot;50&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.7&quot;,&quot;title&quot;:&quot;Panneau brod\\u00e9 avec un d\\u00e9cor grotesque&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Panneau brod\u00e9 avec un d\u00e9cor grotesque\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;\u00e9l\u00e9ment d&amp;rsquo;une tenture , vers 1560. Soie brod\u00e9e.&lt;br \/&gt;\n(c) Metropolitan Museum of art&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?fit=300%2C70&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?fit=665%2C155&amp;ssl=1\" class=\"size-full wp-image-4302\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?resize=665%2C155\" alt=\"\u00e9l\u00e9ment d'une tenture , vers 1560. Soie brod\u00e9e. (c) Metropolitan Museum of art\" width=\"665\" height=\"155\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?w=1600&amp;ssl=1 1600w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?resize=300%2C70&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?resize=1024%2C239&amp;ssl=1 1024w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?resize=620%2C145&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?resize=940%2C220&amp;ssl=1 940w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Element_Tenture-lit_1600pix.jpg?w=1330&amp;ssl=1 1330w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-4302\" class=\"wp-caption-text\">\u00e9l\u00e9ment d&rsquo;une tenture , vers 1560. Soie brod\u00e9e.<br \/>(c) Metropolitan Museum of art<\/figcaption><\/figure>\n<p style=\"text-align: justify;\">L\u2019exposition rassemblera pr\u00e8s de 300 \u0153uvres, provenant des collections du mus\u00e9e des Beaux-Arts de Lyon et de nombreuses institutions lyonnaises, fran\u00e7aises et \u00e9trang\u00e8res : manuscrits enlumin\u00e9s ou dessin\u00e9s, livres, dessins, tableaux, estampes, majoliques, meubles, objets orf\u00e9vr\u00e9s, objets arch\u00e9ologiques, monnaies, m\u00e9dailles, \u00e9maux peints, textiles et objets en \u00e9tain. Le parcours de l\u2019exposition se termine par un espace de m\u00e9diation \u00e0 l\u2019attention du public scolaire mais accessible \u00e9galement \u00e0 tous les visiteurs.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/z9EfIRv75No\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>La vie artistique \u00e0 Lyon n\u2019a jamais \u00e9t\u00e9 trait\u00e9e, si ce n\u2019est au travers d\u2019une \u00e9vocation succincte en 1958, \u00e0 la biblioth\u00e8que municipale de Lyon, dans le cadre des expositions organis\u00e9es \u00e0 l\u2019occasion du bimill\u00e9naire de la ville. L\u2019exposition du mus\u00e9e des Beaux-Arts a pu \u00eatre envisag\u00e9e gr\u00e2ce \u00e0 de r\u00e9centes recherches entreprises dans diverses directions. Les contextes \u00e9conomique et d\u00e9mographique, ainsi que les questions touchant \u00e0 l\u2019urbanisme et aux r\u00e9seaux de sociabilit\u00e9 ont fait l\u2019objet, au cours des derni\u00e8res d\u00e9cennies, de nombreuses \u00e9tudes approfondies. Ces travaux ont grandement facilit\u00e9 la compr\u00e9hension des conditions du d\u00e9veloppement des formes artistiques entre Rh\u00f4ne et Sa\u00f4ne, ainsi que de son corolaire, l\u2019\u00e9panouissement d\u2019un milieu humaniste particuli\u00e8rement actif.<\/p>\n<figure id=\"attachment_4303\" aria-describedby=\"caption-attachment-4303\" style=\"width: 620px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4303\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/guillaume-leroy_rencontre-pierre-sala_1200px\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?fit=824%2C1200&amp;ssl=1\" data-orig-size=\"824,1200\" 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;1&quot;}\" data-image-title=\"Guillaume-Leroy_Rencontre-Pierre-Sala_1200px\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Guillaume Leroy, la rencontre de pierre Sala avec Fran\u00e7ois 1 er au pied de l&amp;rsquo;Antiguaille (1523), Enluminure.&lt;br \/&gt;\n(c) Biblioth\u00e8que Nationale de France.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?fit=206%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?fit=665%2C969&amp;ssl=1\" class=\"wp-image-4303 size-large\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px-703x1024.jpg?resize=620%2C903\" alt=\"Guillaume Leroy, la rencontre de pierre Sala avec Fran\u00e7ois 1 er au pied de l'Antiguaille (1523), Enluminure. (c) Biblioth\u00e8que Nationale de France.\" width=\"620\" height=\"903\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?resize=703%2C1024&amp;ssl=1 703w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?resize=206%2C300&amp;ssl=1 206w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?resize=620%2C903&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Guillaume-Leroy_Rencontre-Pierre-Sala_1200px.jpg?w=824&amp;ssl=1 824w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-4303\" class=\"wp-caption-text\">Guillaume Leroy, la rencontre de pierre Sala avec Fran\u00e7ois 1 er au pied de l&rsquo;Antiguaille (1523), Enluminure.<br \/> (c) Biblioth\u00e8que Nationale de France.<\/figcaption><\/figure>\n<p>Les contours d\u2019une ville marchande et cosmopolite se sont dessin\u00e9s avec force sous la plume des historiens, qui lui ont restitu\u00e9 son statut de \u00ab deuxi\u00e8me \u0153il de France \u00bb, \u00ab clef du royaume \u00bb et \u00ab c\u0153ur d\u2019Europe \u00bb chant\u00e9 par les po\u00e8tes de ce temps. L\u2019\u00e9cheveau complexe du monde des imprimeurs et graveurs lyonnais a ainsi pu \u00eatre d\u00e9m\u00eal\u00e9 et les grandes figures de l\u2019humanisme lyonnais ont pu \u00eatre caract\u00e9ris\u00e9es. Des \u00e9tudes relatives \u00e0 l\u2019art de l\u2019enluminure, aux portraits de Corneille de Lyon, le recensement des poin\u00e7ons lyonnais ou encore les fouilles du quartier Saint-Georges et de la place des Terreaux ont \u00e9galement pu servir d\u2019aiguillon et de rep\u00e8res au cours de l\u2019\u00e9laboration de ce projet.<\/p>\n<figure id=\"attachment_4304\" aria-describedby=\"caption-attachment-4304\" style=\"width: 536px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4304\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/hnjhu\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?fit=536%2C533&amp;ssl=1\" data-orig-size=\"536,533\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1449320179&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=\"Pierre Reymond, d&amp;rsquo;apr\u00e9s Bernard Salomon, plateau d&amp;rsquo;aigui\u00e8re, \u00e9mail peint sur cuivre. (c) Lyon MBA, photo alain Basset\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Pierre Reymond, d&amp;rsquo;apr\u00e9s Bernard Salomon, plateau d&amp;rsquo;aigui\u00e8re, \u00e9mail peint sur cuivre.&lt;br \/&gt;\n(c) Lyon MBA, photo alain Basset&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?fit=300%2C298&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?fit=536%2C533&amp;ssl=1\" class=\"size-full wp-image-4304\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?resize=536%2C533\" alt=\"Pierre Reymond, d'apr\u00e9s Bernard Salomon, plateau d'aigui\u00e8re, \u00e9mail peint sur cuivre. (c) Lyon MBA, photo alain Basset\" width=\"536\" height=\"533\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?w=536&amp;ssl=1 536w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/hnjhu.jpg?resize=300%2C298&amp;ssl=1 300w\" sizes=\"auto, (max-width: 536px) 100vw, 536px\" \/><\/a><figcaption id=\"caption-attachment-4304\" class=\"wp-caption-text\">Pierre Reymond, d&rsquo;apr\u00e9s Bernard Salomon, plateau d&rsquo;aigui\u00e8re, \u00e9mail peint sur cuivre.<br \/>(c) Lyon MBA, photo alain Basset<\/figcaption><\/figure>\n<p>Faisant \u00e9tat de l\u2019actualit\u00e9 de la recherche, l\u2019exposition rend sensible au public la vitalit\u00e9 de la vie artistique lyonnaise de cette \u00e9poque, en l\u2019inscrivant dans un contexte \u00e0 dimension europ\u00e9enne. Elle met en exergue les \u00e9changes d\u2019influences entre le foyer lyonnais et les autres foyers fran\u00e7ais, mais aussi entre le foyer lyonnais et les foyers italien, nordique et germanique, tout en mettant en lumi\u00e8re les transferts de mod\u00e8les d\u2019une technique \u00e0 l\u2019autre. La gravure d\u2019illustration joue un r\u00f4le \u00e9minent dans les circulations d\u2019un centre artistique \u00e0 l\u2019autre, Lyon se pr\u00e9sentant au XVIe si\u00e8cle comme l\u2019une des capitales de l\u2019imprimerie, \u00e0 l\u2019instar d\u2019Anvers, de Paris ou de Venise.<\/p>\n<figure id=\"attachment_4305\" aria-describedby=\"caption-attachment-4305\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Tete-d-ange-HD.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4305\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/tete-d-ange-hd\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Tete-d-ange-HD-e1449316899333.jpg?fit=600%2C701&amp;ssl=1\" data-orig-size=\"600,701\" 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;1&quot;}\" data-image-title=\"T\u00eate d&amp;rsquo;ange, fragment de vitrail, cath\u00e9drale de Lyon\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;T\u00eate d&amp;rsquo;ange, fragment de vitrail, cath\u00e9drale de Lyon&lt;br \/&gt;\n(c) archives d\u00e9partementales du Rh\u00f4ne.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Tete-d-ange-HD-e1449316899333.jpg?fit=257%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Tete-d-ange-HD-e1449316899333.jpg?fit=600%2C701&amp;ssl=1\" class=\"wp-image-4305 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Tete-d-ange-HD-e1449316899333.jpg?resize=600%2C701\" alt=\"T\u00eate d'ange, fragment de vitrail, cath\u00e9drale de Lyon (c) archives d\u00e9partementales du Rh\u00f4ne.\" width=\"600\" height=\"701\" \/><\/a><figcaption id=\"caption-attachment-4305\" class=\"wp-caption-text\">T\u00eate d&rsquo;ange, fragment de vitrail, cath\u00e9drale de Lyon<br \/> (c) archives d\u00e9partementales du Rh\u00f4ne.<\/figcaption><\/figure>\n<p><strong>Lyon, \u00ab deuxi\u00e8me \u0153il de France \u00bb et \u00ab c\u0153ur d\u2019Europe \u00bb<\/strong><\/p>\n<p>Un contexte historique propice au d\u00e9veloppement des arts \u00e0 Lyon au XVIe si\u00e8cle<\/p>\n<ol>\n<li>Entre Rh\u00f4ne et Sa\u00f4ne Il convient de rappeler la position g\u00e9ographique exceptionnelle de la ville de Lyon, point de convergence de marchands, d\u2019artistes et d\u2019\u0153uvres issus des quatre points cardinaux. S\u2019ajoute \u00e0 cela l\u2019acquisition par la ville en 1463 du privil\u00e8ge de la tenue de quatre foires par an, qui permet que s\u2019y multiplient les \u00e9changes commerciaux et favorise l\u2019essor pris par la vie artistique. C\u2019est ainsi que s\u2019implantent des marchands-banquiers originaires d\u2019Italie et d\u2019Allemagne, mais aussi des artistes aux origines et confessions diverses, qui vont conf\u00e9rer \u00e0 la vie artistique lyonnaise sa singularit\u00e9.<\/li>\n<\/ol>\n<figure id=\"attachment_4306\" aria-describedby=\"caption-attachment-4306\" style=\"width: 793px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4306\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/dsklok\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?fit=793%2C551&amp;ssl=1\" data-orig-size=\"793,551\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1449320148&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=\"Coffre en noyer\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Coffre en noyer&lt;br \/&gt;\n(c) Lyon MBA, photo alain Basset&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?fit=300%2C208&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?fit=665%2C462&amp;ssl=1\" class=\"size-full wp-image-4306\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?resize=665%2C462\" alt=\"Coffre en noyer (c) Lyon MBA, photo alain Basset\" width=\"665\" height=\"462\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?w=793&amp;ssl=1 793w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?resize=300%2C208&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?resize=620%2C431&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/dsklok.jpg?resize=100%2C70&amp;ssl=1 100w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-4306\" class=\"wp-caption-text\">Coffre en noyer<br \/>(c) Lyon MBA, photo alain Basset<\/figcaption><\/figure>\n<ol>\n<li>Lyon, capitale de l\u2019imprimerie Lyon se pr\u00e9sente comme une capitale de l\u2019imprimerie \u00e0 l\u2019\u00e9chelle europ\u00e9enne. La gravure d\u2019illustration sur bois, puis sur cuivre, constituent \u00e0 la fois un reflet des diff\u00e9rentes influences qui s\u2019y font jour et le moyen de diffusion de mod\u00e8les proprement lyonnais. Les imprimeurs Jean de Tournes et S\u00e9bastien Gryphe, et les graveurs Pierre Eskrich, Georges Reverdy, le Ma\u00eetre C.C. ou le ma\u00eetre J.G. sont les figures de proue de ce milieu.<\/p>\n<\/li>\n<li>Lyon la catholique, Lyon la R\u00e9form\u00e9e Le contexte lyonnais se distingue par l\u2019importante et pr\u00e9coce diffusion des id\u00e9es de la R\u00e9forme, en particulier dans le milieu de l\u2019imprimerie, ainsi que par la coexistence pacifique des cultes catholique et r\u00e9form\u00e9, jusqu\u2019\u00e0 l\u2019ann\u00e9e 1562, qui voit Lyon devenir ville protestante. La d\u00e9vastatrice vague d\u2019iconoclasme qui s\u2019ensuit explique pour une grande part la disparition de nombre d\u2019\u0153uvres, qu\u2019elles aient \u00e9t\u00e9 peintes, sculpt\u00e9es ou encore orf\u00e9vr\u00e9es.<\/p>\n<\/li>\n<\/ol>\n<figure id=\"attachment_4307\" aria-describedby=\"caption-attachment-4307\" style=\"width: 620px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4307\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/corneille-de-lyon_homme-beret_1200px\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?fit=1200%2C1577&amp;ssl=1\" data-orig-size=\"1200,1577\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;13&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D800E&quot;,&quot;caption&quot;:&quot;STUDIO BASSET\\ralain Basset\\r12 rue de la Blanchisserie\\r69250 Neuville sur Saone\\r0607535207\\r[#Beginning of Shooting Data Section]\\rNikon D800E\\r2014\/11\/04 13:58:36.80\\rFuseau horaire\/date : UTC, Heure d&#039;\\u00e9t\\u00e9:Activ\\u00e9e\\rRAW (14 bits)\\rTaille d&#039;image : L (7360 x 4912), FX\\rObjectif : VR 105mm f\/2.8G\\rPhotographe : ALAIN BASSET      0607535207        \\rFocale : 105mm\\rMode d&#039;exposition : Manuel\\rMesure : Pond\\u00e9r\\u00e9e centrale\\rVitesse d&#039;obturation : 2s\\rOuverture : f\/13\\rCorrection expo. : 0IL\\rR\\u00e9gl. pr\\u00e9cis expo. :\\rSensibilit\\u00e9 : ISO 125\\rOptimisation image :\\rBalance des blancs : Incandescent, 0, 0\\rMode mise au point : Manuel (MF)\\rMode de zone AF : Point s\\u00e9lectif\\rR\\u00e9glage pr\\u00e9cis AF : D\\u00e9sactiv\\u00e9\\rVR : ON\\rR\\u00e9duction du bruit : D\\u00e9sactiv\\u00e9e\\rR\\u00e9duc. bruit ISO : D\\u00e9sactiv\\u00e9e\\rMode couleur :\\rEspace colorim\\u00e9trique : Adobe RVB\\rCorrection des tons :\\rR\\u00e9glage des teintes :\\rSaturation :\\rAccentuation :\\rD-Lighting actif : D\\u00e9sactiv\\u00e9\\rContr\\u00f4le du vignetage : D\\u00e9sactiv\\u00e9\\rContr\\u00f4le auto de la distorsion : D\\u00e9sactiv\\u00e9\\rPicture Control : NEUTRAL-POLA\\rFond\\u00e9 sur : [NL] Neutre\\rR\\u00e9glage rapide :\\rAccentuation : 3\\rContraste : -1\\rLuminosit\\u00e9 : 0\\rSaturation : -1\\rTeinte : -1\\rEffets de filtres :\\rVirage :\\rSys coord :\\rNettoyage du capteur d&#039;image : 2013\/10\/07 16:42:52\\rL\\u00e9gende image : ALAIN BASSET      0607535207        \\r[#End of Shooting Data Section]&quot;,&quot;created_timestamp&quot;:&quot;1415059200&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;105&quot;,&quot;iso&quot;:&quot;125&quot;,&quot;shutter_speed&quot;:&quot;2&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Corneille-de-Lyon\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Corneille de Lyon vers 1530.&lt;br \/&gt;\n(c) Lyon, mus\u00e9e des beaux- Arts&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?fit=228%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?fit=665%2C874&amp;ssl=1\" class=\"wp-image-4307 size-large\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px-779x1024.jpg?resize=620%2C815\" alt=\"Corneille de Lyon vers 1530. (c) Lyon, mus\u00e9e des beaux- Arts\" width=\"620\" height=\"815\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?resize=779%2C1024&amp;ssl=1 779w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?resize=228%2C300&amp;ssl=1 228w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?resize=620%2C815&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?resize=940%2C1235&amp;ssl=1 940w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Corneille-de-Lyon_homme-beret_1200px.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-4307\" class=\"wp-caption-text\">Corneille de Lyon vers 1530.<br \/> (c) Lyon, mus\u00e9e des beaux- Arts<\/figcaption><\/figure>\n<p><strong>L\u2019humanisme lyonnais<\/strong><\/p>\n<ol>\n<li>Les antiquaires Au premier rang des traits saillants de cette Renaissance lyonnaise, on citera la red\u00e9couverte du glorieux pass\u00e9 antique de la capitale des Gaules. L\u2019exhumation de la Table claudienne sur les pentes de la colline de la Croix-Rousse en 1528 constitue un \u00e9v\u00e9nement fondateur. Une riche lign\u00e9e de collectionneurs et d\u2019\u00e9pigraphistes, parmi lesquels Pierre Sala, Guillaume du Choul, Gabriel Symeoni ou encore Jacopo Strada, consacrent de savants travaux \u00e0 la description des vestiges de cette antiquit\u00e9 lyonnaise, en m\u00eame temps qu\u2019ils participent \u00e0 la diffusion des images qu\u2019ils recueillent des vestiges proprement romains. Fran\u00e7ois Ier lui-m\u00eame honora de sa visite l\u2019Antiquaille, la \u00abmaison des champs \u00bb de Pierre Sala situ\u00e9e sur la colline de Fourvi\u00e8re.<\/li>\n<\/ol>\n<figure id=\"attachment_4308\" aria-describedby=\"caption-attachment-4308\" style=\"width: 620px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4308\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/claveau_viperes_1200px\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?fit=1200%2C876&amp;ssl=1\" data-orig-size=\"1200,876\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;16&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D800E&quot;,&quot;caption&quot;:&quot;STUDIO BASSET\\ralain Basset\\r12 rue de la Blanchisserie\\r69250 Neuville sur Saone\\r0607535207\\r[#Beginning of Shooting Data Section]\\rNikon D800E\\r2015\/04\/20 10:00:11.50\\rFuseau horaire\/date : UTC+1, Heure d&#039;\\u00e9t\\u00e9:Activ\\u00e9e\\rRAW (14 bits)\\rTaille d&#039;image : L (7360 x 4912), FX\\rObjectif : VR 105mm f\/2.8G\\rPhotographe : ALAIN BASSET      0607535207        \\rCopyright : BASSET0607525307                                      \\rFocale : 105mm\\rMode d&#039;exposition : Manuel\\rMesure : Matricielle\\rVitesse d&#039;obturation : 1\/80s\\rOuverture : f\/16\\rCorrection expo. : 0IL\\rR\\u00e9gl. pr\\u00e9cis expo. :\\rSensibilit\\u00e9 : ISO 160\\rOptimisation image :\\rBalance des blancs : Ensoleill\\u00e9, 0, 0\\rMode mise au point : Manuel (MF)\\rMode de zone AF : Point s\\u00e9lectif\\rR\\u00e9glage pr\\u00e9cis AF : D\\u00e9sactiv\\u00e9\\rVR : ON\\rR\\u00e9duction du bruit : D\\u00e9sactiv\\u00e9e\\rR\\u00e9duc. bruit ISO : D\\u00e9sactiv\\u00e9e\\rMode couleur :\\rEspace colorim\\u00e9trique : Adobe RVB\\rCorrection des tons :\\rR\\u00e9glage des teintes :\\rSaturation :\\rAccentuation :\\rD-Lighting actif : D\\u00e9sactiv\\u00e9\\rContr\\u00f4le du vignetage : D\\u00e9sactiv\\u00e9\\rContr\\u00f4le auto de la distorsion : D\\u00e9sactiv\\u00e9\\rPicture Control : [SD] Standard\\rFond\\u00e9 sur : [SD] Standard\\rR\\u00e9glage rapide : -\\rAccentuation : 4\\rContraste : 0\\rLuminosit\\u00e9 : 0\\rSaturation : 0\\rTeinte : 0\\rEffets de filtres :\\rVirage :\\rSys coord :\\rNettoyage du capteur d&#039;image : 2013\/10\/07 17:42:52\\rL\\u00e9gende image : ALAIN BASSET      0607535207        \\r[#End of Shooting Data Section]&quot;,&quot;created_timestamp&quot;:&quot;1429488000&quot;,&quot;copyright&quot;:&quot;BASSET0607525307&quot;,&quot;focal_length&quot;:&quot;105&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;0.0125&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Claveau aux deux vip\u00e8res\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Claveau aux deux Vip\u00e8res.&lt;br \/&gt;\n(c) Lyon, mus\u00e9e Gadagne.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?fit=300%2C219&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?fit=665%2C486&amp;ssl=1\" class=\"wp-image-4308 size-large\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px-1024x748.jpg?resize=620%2C453\" alt=\"Claveau aux deux Vip\u00e8res. (c) Lyon, mus\u00e9e Gadagne.\" width=\"620\" height=\"453\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?resize=1024%2C748&amp;ssl=1 1024w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?resize=300%2C219&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?resize=620%2C453&amp;ssl=1 620w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?resize=940%2C686&amp;ssl=1 940w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/Claveau_viperes_1200px.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-4308\" class=\"wp-caption-text\">Claveau aux deux Vip\u00e8res.<br \/> (c) Lyon, mus\u00e9e Gadagne.<\/figcaption><\/figure>\n<ol>\n<li>Trait\u00e9s scientifiques et instruments de mesure Dans le champ des sciences, Lyon appara\u00eet comme le lieu de formulations nouvelles, \u00e9galement inspir\u00e9es du mod\u00e8le antique. Les progr\u00e8s qui s\u2019accomplissent \u00e0 Lyon dans ce domaine, ou qui s\u2019y trouvent r\u00e9percut\u00e9s, s\u2019allient \u00e0 un renouveau esth\u00e9tique dont t\u00e9moignent de pr\u00e9cieux instruments de mesure, ainsi que des trait\u00e9s d\u2019histoire naturelle dans lesquels les sp\u00e9cimens sont repr\u00e9sent\u00e9s de mani\u00e8re extr\u00ea- mement r\u00e9aliste.<\/li>\n<\/ol>\n<figure id=\"attachment_4309\" aria-describedby=\"caption-attachment-4309\" style=\"width: 734px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4309\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/exposition-lyon-renaissance\/734_550_n13-451_astrobale_1200px\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?fit=734%2C550&amp;ssl=1\" data-orig-size=\"734,550\" 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=\"Jean Naze, astrolabe, 1553.\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean Naze, astrolabe, 1553.&lt;br \/&gt;\n(c) Lyon MBA&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?fit=300%2C225&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?fit=665%2C498&amp;ssl=1\" class=\"size-full wp-image-4309\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?resize=665%2C498\" alt=\"Jean Naze, astrolabe, 1553. (c) Lyon MBA\" width=\"665\" height=\"498\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?w=734&amp;ssl=1 734w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?resize=300%2C225&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2015\/12\/734_550_N13-451_Astrobale_1200px.jpg?resize=620%2C465&amp;ssl=1 620w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-4309\" class=\"wp-caption-text\">Jean Naze, astrolabe, 1553.<br \/>(c) Lyon MBA<\/figcaption><\/figure>\n<p><strong>Figures de Lyon<\/strong><\/p>\n<ol>\n<li>La Cour \u00e0 Lyon : s\u00e9jours et entr\u00e9es solennelles La red\u00e9couverte de l\u2019\u00e9minent pass\u00e9 de la ville co\u00efncide avec la reconstruction litt\u00e9raire d\u2019origines mythiques, faisant notamment remonter la fondation de la ville par des descendants de No\u00e9 au lendemain du D\u00e9luge. Ces r\u00e9cits fabuleux visent \u00e0 doter la ville d\u2019une identit\u00e9 qui la distingue des autres cit\u00e9s du royaume. La ville se met elle-m\u00eame en sc\u00e8ne avec faste, \u00e0 l\u2019occasion des entr\u00e9es de souverains que les guerres d\u2019Italie am\u00e8nent \u00e0 s\u00e9journer r\u00e9guli\u00e8rement entre Sa\u00f4ne et Rh\u00f4ne, aux avant-postes du Milanais, le plus souvent en pr\u00e9vision d\u2019incursions men\u00e9es par les troupes de Charles Quint.\n<\/li>\n<li>\n<p>Portraits de la Cour et de Lyonnais La confrontation physique, pour la premi\u00e8re fois, d\u2019un grand nombre de portraits donn\u00e9s \u00e0 Corneille de Lyon devrait aider \u00e0 mieux saisir l\u2019articulation des diff\u00e9rentes facettes de la personnalit\u00e9 du peintre. Cet ensemble sera mis en regard avec les \u0153uvres de Jean Perr\u00e9al et d\u2019Etienne de Martellange, les deux autres maillons de cette cha\u00eene de portraitistes lyonnais. Le portrait d\u2019Homme au b\u00e9ret tenant une paire de gants, actuellement en cours d\u2019acquisition dans le cadre d\u2019une souscription publique et avec l\u2019aide du Cercle Poussin, sera l\u2019un des points d\u2019orgue de cette s\u00e9lection.<\/p>\n<\/li>\n<\/ol>\n<p><strong>M\u00e9c\u00e9nat et influences italiennes<\/strong><\/p>\n<ol>\n<li>La Nation Florentine et Notre-Dame-de-Confort Au XVIe si\u00e8cle, un nombre important de banquiers toscans s\u2019\u00e9tablissent \u00e0 Lyon, pour la plupart des fuoriusciti, toujours en rapport avec des artistes italiens. Parmi eux, les Panciatichi et les Gadagne, ces derniers \u00e9tant \u00e0 l\u2019origine de la commande pass\u00e9e \u00e0 Francesco Salviati, pour leur chapelle \u00e0 Notre-Dame de Confort, d\u2019une Incr\u00e9dulit\u00e9 de saint Thomas, le plus c\u00e9l\u00e8bre tableau visible \u00e0 Lyon jusqu\u2019\u00e0 la R\u00e9volution, qui a \u00e9t\u00e9 r\u00e9p\u00e9t\u00e9 et interpr\u00e9t\u00e9 par des graveurs lyonnais de premier plan d\u00e8s ce temps-l\u00e0. Des relev\u00e9s in\u00e9dits de la chapelle Panciatichi, des m\u00e9dailles de fondation, dessins et enluminures t\u00e9moigneront de ce prestigieux ensemble.\n<\/li>\n<li>\n<p>Le cardinal de Tournon et la majolique lyonnaise Le m\u00e9c\u00e9nat du cardinal Fran\u00e7ois de Tournon peut \u00eatre consid\u00e9r\u00e9 \u00e0 l\u2019instar de celui de ces Italiens, puisque c\u2019est \u00e0 l\u2019issue d\u2019un s\u00e9jour de huit ann\u00e9es en Italie qu\u2019il devient archev\u00eaque de Lyon, en 1551. Il fait travailler le peintre Florentin Capassini, mais il est aussi, semble-t-il, le commanditaire des Tre Libri dell\u2019Arte del Vasaio de Picolpasso, sachant que Lyon devient un centre d\u2019importation, mais \u00e9galement de production de la majolique. Pour la premi\u00e8re fois, l\u2019 exposition tend \u00e0 d\u00e9finir un corpus de majoliques peintes \u00e0 Lyon par l\u2019Italien Gironimo Tomasi, qui \u0153uvra \u00e0 Urbino avant de s\u2019\u00e9tablir \u00e0 Lyon.<\/p>\n<\/li>\n<li>\n<p>La diffusion du vocabulaire architectural et ornemental \u00e0 Lyon Les langages architectural et ornemental classiques actualis\u00e9s par les Italiens rencontrent \u00e9galement un large \u00e9cho en terre lyonnaise. La venue \u00e0 Lyon de Sebastiano Serlio en vue d\u2019y publier certains de ses trait\u00e9s et le retour de Rome du Lyonnais Philibert de L\u2019Orme n\u2019ont pu que renforcer le recours pr\u00e9coce, \u00e0 partir de 1500, dans la gravure sur cuivre, l\u2019enluminure, le mobilier et l\u2019orf\u00e8vrerie, aux motifs embl\u00e9matiques de l\u2019architecture classique, tels que les successions d\u2019arcatures, les pilastres, colonnes, frontons et autres escaliers h\u00e9lico\u00efdaux. Les \u00e9tains de prestige lyonnais, que cette exposition met pour la premi\u00e8re fois \u00e0 l\u2019honneur, empruntent pour leur part leurs arabesques fleuries, termes, masques et cuirs \u00e0 La Fleur de la Science de pourtraiture et patrons de broderie fa\u00e7on arabique et ytalique, un recueil d\u2019ornements italien.<\/p>\n<\/li>\n<\/ol>\n<p><strong>Influences nordiques et germaniques<\/strong><\/p>\n<p>L\u2019art d\u2019Albrecht D\u00fcrer est connu t\u00f4t dans le si\u00e8cle, par l\u2019entremise d\u2019estampes, comme en t\u00e9moigne le cahier d\u2019exercices du jeune J\u00e9r\u00f4me Durand, un apprenti peintre verrier de quatorze ans qui y copie Le Chevalier, la Mort et le Diable. La diffusion de gravures permet \u00e9galement aux artistes d\u2019appr\u00e9hender les inventions de Brueghel ou de Holbein, La Danse de Noce du premier se voyant r\u00e9interpr\u00e9t\u00e9e par No\u00ebl de Lyon, tandis que les illustrations de la Bible par le second inspireront \u00e0 Jean de Tournes et Bernard Salomon la formule des Quadrins historiques de la Bible, appel\u00e9s \u00e0 servir \u00e0 leur tour de mod\u00e8les dans l\u2019Europe enti\u00e8re.<\/p>\n<p><strong>La contribution des artistes venus d\u2019autres provinces<\/strong><\/p>\n<p>Apr\u00e8s avoir consid\u00e9r\u00e9 les pr\u00e9sences et les influences \u00e9trang\u00e8res assimil\u00e9es par les Lyonnais, il s\u2019agit de renverser la probl\u00e9matique, en montrant que l\u2019activit\u00e9 florissante de l\u2019imprimerie lyonnaise a nourri \u00e0 son tour la cr\u00e9ation \u00e0 travers l\u2019Europe. Le Lorrain Pierre Woeiriot est ainsi amen\u00e9 \u00e0 Lyon pour y publier, notamment, ses recueils de mod\u00e8les d\u2019orf\u00e8vrerie. Les Bourguignons Jean Duvet et Hugues Sambin s\u00e9journent \u00e9galement \u00e0 Lyon, le premier pour y publier son chef-d\u2019\u0153uvre, L\u2019Apocalypse de saint Jean, le second son trait\u00e9 sur la Diversit\u00e9 des termes, qui semble avoir laiss\u00e9 son empreinte sur le mobilier lyonnais.<\/p>\n<p><strong>La diffusion des mod\u00e8les lyonnais en Europe : Bernard Salomon, le h\u00e9raut de la Renaissance lyonnaise<\/strong><\/p>\n<p>Pour finir, on soulignera l\u2019extraordinaire fortune qu\u2019ont connue les mod\u00e8les grav\u00e9s \u00e0 Lyon par Bernard Salomon, fortune qui trouve son expression \u00e0 travers des pi\u00e8ces relevant de techniques fort diff\u00e9rentes : la majolique, qu\u2019elle ait \u00e9t\u00e9 r\u00e9alis\u00e9e en Italie ou \u00e0 Nevers, les \u00e9maux peints \u00e0 Limoges par Pierre Courteys, Pierre Reymond ou Suzanne Court, le mobilier, ainsi que de rares pi\u00e8ces textiles. Un grand nombre des dessins attribu\u00e9s \u00e0 Bernard Salomon qui sont pass\u00e9s en vente chez Christie\u2019s en 2004 se trouvent r\u00e9unis \u00e0 cette occasion, \u00e0 proximit\u00e9 d\u2019autres dessins dont il est possiblement l\u2019auteur.<\/p>\n<p><span style=\"color: #ff0000;\">En savoir plus:<\/span><\/p>\n<p>Mus\u00e9e des beaux Arts de Lyon<\/p>\n<p>Jusqu&rsquo;au\u00a0<b>\u00a025 janvier 2016<\/b><\/p>\n<p>http:\/\/www.mba-lyon.fr\/mba\/sections\/fr\/expositions-musee\/lyon-renaissance\/arts-humanisme<\/p>\n","protected":false},"excerpt":{"rendered":"<p>L\u2019exposition a pour ambition de r\u00e9v\u00e9ler la richesse de la vie artistique lyonnaise au XVIe si\u00e8cle. La position g\u00e9ographique exceptionnelle de la ville, \u00e0 la rencontre des deux voies fluviales que sont le Rh\u00f4ne et la Sa\u00f4ne, sur la route entre le Nord de l\u2019Europe et l\u2019Italie, mais aussi \u00e0 proximit\u00e9 des contr\u00e9es germaniques, explique [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":4310,"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-4281","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>Exposition Lyon Renaissance Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"L\u2019exposition a pour ambition de r\u00e9v\u00e9ler la richesse de la vie artistique lyonnaise au XVIe si\u00e8cle. 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