{"id":5979,"date":"2016-12-10T16:14:33","date_gmt":"2016-12-10T15:14:33","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=5979"},"modified":"2017-01-04T07:45:00","modified_gmt":"2017-01-04T06:45:00","slug":"technique-de-licone","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/technique-de-licone\/","title":{"rendered":"Technique de l’ic\u00f4ne"},"content":{"rendered":"

Les deux grandes techniques de la peinture\u00a0d’ic\u00f4nes, toutes deux h\u00e9rit\u00e9es de l’Antiquit\u00e9, sont l’encaustique et la d\u00e9trempe.<\/strong> La premi\u00e8re, qui consiste \u00e0 m\u00e9langer les pigments color\u00e9s \u00e0 de la cire chauff\u00e9e, fut surtout utilis\u00e9e aux\u00a0VI<\/span>e<\/sup>\u00a0et\u00a0VII<\/span>e<\/sup>\u00a0si\u00e8cles. elles sont assez proches des peintures fun\u00e9raires d’\u00c9gypte telles que nous les connaissons par les Portraits du Fayoum.<\/p>\n

\u00c0 partir du\u00a0VIII<\/span>e<\/sup>\u00a0si\u00e8cle, c’est la d\u00e9trempe, qui utilise des couleurs d\u00e9lay\u00e9es dans de l’eau additionn\u00e9e d’\u0153uf, qui devient la technique habituelle de la peinture d’ic\u00f4nes.<\/p>\n

\"Ic\u00f4ne<\/a>
Ic\u00f4ne de Saint Nicolas, dit \u00ab\u00a0le faiseur de miracles\u00a0\u00bb, Mstera, 19e Si\u00e8cle\u00a0\u00bb.
(c) galerie L’Ic\u00f4ne, Proantic.<\/figcaption><\/figure>\n

L’ic\u00f4ne est r\u00e9alis\u00e9e sur une planche de bois exempte de n\u0153ud, la doska<\/em>.\u00a0Tous les bois peuvent th\u00e9oriquement \u00eatre utilis\u00e9s pour confectionner les planches, \u00e0 condition d’\u00eatre bien secs. En cons\u00e9quence, durant des si\u00e8cles, l’iconographe (g\u00e9n\u00e9ralement un moine) utilisa le bois qu’il trouvait dans les environs. Le tilleul semble le plus ad\u00e9quat\u00a0: tr\u00e8s homog\u00e8ne et tendre, il fend peu. En outre, il se r\u00e9v\u00e8le facile \u00e0 travailler. Mais selon les r\u00e9gions des bois diff\u00e9rents sont utilis\u00e9s; dans les pays m\u00e9diterran\u00e9ens: le cypr\u00e9s, le platane, le ch\u00eane, le palmier. En Russie et dans les Balkans, le tilleul, le bouleau le ch\u00eane, le fr\u00eane; le h\u00eatre et au Nord le bois de sapin. La plupart du temps le bois est l\u00e9g\u00e8rement creus\u00e9 dans la partie qui recevra l’image peinte.<\/p>\n

\"Ic\u00f4ne<\/a>
Ic\u00f4ne Saint Georges Terrassant Le Dragon. Gr\u00e8ce, dat\u00e9e 1855.
(c) galerie L’Ic\u00f4ne, Proantic.<\/figcaption><\/figure>\n

Sur le fond, on \u00e9tend \u00e0 chaud de la colle de peau, puis une toile appel\u00e9e pavoloka<\/em> dont la finesse d\u00e9pend de la richesse de l’ic\u00f4ne.<\/p>\n

Cette toile est ensuite recouverte par plusieurs couches d’un m\u00e9lange de colle et de poudre d’alb\u00e2tre appel\u00e9e \u00ab\u00a0levkas<\/em>\u00a0\u00bb ou \u00ab\u00a0gesso<\/strong>\u00a0\u00bb qui, apr\u00e8s s\u00e9chage, est ponc\u00e9 pour obtenir une surface lisse et uniforme.<\/p>\n

\"Icone<\/a>
Icone russe sur bois, XIX\u00e8me si\u00e8cle.
(c) Galleria d’Arte Antica La Conchiglia, Proantic.<\/figcaption><\/figure>\n

 <\/p>\n

Sur la doska\u00a0pr\u00e9par\u00e9e, l’iconographe reporte le dessin de l’ic\u00f4ne en suivant scrupuleusement les indications fournies par les ma\u00eetres et en s’aidant de mod\u00e8les existants. Les traits du dessin sont ensuite l\u00e9g\u00e8rement grav\u00e9s dans le levkas.<\/p>\n

On applique ensuite, sur un enduit rouge\u00e2tre, le fond or, avant que ne commence la peinture proprement dite.<\/p>\n

\"Icone<\/a>
Icone de la Deesis avec le Christ, la Vierge et Saint Jean vers 1850- 70.
(c) Galerie D’antiquit\u00e9s Martin Puch, Proantic.<\/figcaption><\/figure>\n

Vient l’\u00e9tape de la peinture, r\u00e9alis\u00e9e \u00e0 partir de pigments naturels min\u00e9raux (ocres, oxydes m\u00e9talliques\u2026) ou animaux (noir d’ivoire\u2026). Les pigments m\u00e9lang\u00e9s \u00e0 du jaune d’\u0153uf et de l’eau sont d\u00e9pos\u00e9s au pinceau (technique dite de la \u00ab\u00a0tempera\u00a0\u00bb), en commen\u00e7ant par les teintes les plus sombres puis en \u00e9claircissant. Pour les parties du corps visibles (visage, mains\u2026) l’iconographe pose d’abord un fond ocre sombre (le \u00ab\u00a0proplasme\u00a0\u00bb) \u00e0 partir duquel il fait ressortir les traits.<\/p>\n

Les ic\u00f4nes comportent g\u00e9n\u00e9ralement des indications \u00e9crites pr\u00e9cisant la personne ou le th\u00e8me repr\u00e9sent\u00e9. Enfin, l’ic\u00f4ne est prot\u00e9g\u00e9e par une pr\u00e9paration \u00e0 base d’huile de lin (l’Olifa).<\/p>\n

\"Icone<\/a>
Icone representant le Saint Nicolas avec un riza en argent, Petersbourg, 1747.
(c) Galerie D’antiquit\u00e9s Martin Puch, Proantic.<\/figcaption><\/figure>\n

L’ic\u00f4ne a parfois re\u00e7u un rev\u00eatement de m\u00e9tal pr\u00e9cieux (argent ou argent dor\u00e9), travaill\u00e9 au repouss\u00e9 \u00a0et d\u00e9cor\u00e9 d’ornements floraux, de bustes de saints en m\u00e9daillons ou de petites sc\u00e8nes et rehauss\u00e9 parfois d’\u00e9maux\u00a0ou de pierreries. Il peut \u00eatre limit\u00e9 \u00e0 l’encadrement ou couvrir tout le fond, voire toute la surface de l’ic\u00f4ne, \u00e0 l’exception du visage.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

<\/h3>\n

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

Les deux grandes techniques de la peinture\u00a0d’ic\u00f4nes, toutes deux h\u00e9rit\u00e9es de l’Antiquit\u00e9, sont l’encaustique et la d\u00e9trempe. La premi\u00e8re, qui consiste \u00e0 m\u00e9langer les pigments color\u00e9s \u00e0 de la cire chauff\u00e9e, fut surtout utilis\u00e9e aux\u00a0VIe\u00a0et\u00a0VIIe\u00a0si\u00e8cles. elles sont assez proches des peintures fun\u00e9raires d’\u00c9gypte telles que nous les connaissons par les Portraits du Fayoum. \u00c0 partir […]<\/p>\n","protected":false},"author":6,"featured_media":5999,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_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":[372],"tags":[],"class_list":["post-5979","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-abc-du-decor"],"yoast_head":"\nTechnique de l'ic\u00f4ne Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"Les deux grandes techniques de la peinture\u00a0d'ic\u00f4nes, toutes deux h\u00e9rit\u00e9es de l'Antiquit\u00e9, sont l'encaustique et la d\u00e9trempe. La premi\u00e8re, qui consiste \u00e0\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.proantic.com\/magazine\/technique-de-licone\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Technique de l'ic\u00f4ne Le Magazine de Proantic\" \/>\n<meta property=\"og:description\" content=\"Les deux grandes techniques de la peinture\u00a0d'ic\u00f4nes, toutes deux h\u00e9rit\u00e9es de l'Antiquit\u00e9, sont l'encaustique et la d\u00e9trempe. 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