{"id":99776,"date":"2024-06-30T02:00:49","date_gmt":"2024-06-30T01:00:49","guid":{"rendered":"https:\/\/spaziospadoni.org\/?p=99776"},"modified":"2026-10-13T18:33:27","modified_gmt":"2026-10-13T17:33:27","slug":"through-the-eyes-of-art-burying-the-dead","status":"publish","type":"post","link":"https:\/\/spaziospadoni.org\/fr\/through-the-eyes-of-art-burying-the-dead\/","title":{"rendered":"\u00c0 travers les yeux de l\u2019art : Ensevelir les morts"},"content":{"rendered":"\n

L\u2019\u0153uvre de mis\u00e9ricorde corporelle \u00ab ensevelir les morts \u00bb vue \u00e0 travers les toiles de plusieurs artistes.<\/p>\n\n\n\n

\u00ab Un enterrement \u00e0 Ornans \u00bb de Courbet<\/h2>\n\n\n\n

C’est un enterrement que nous montre Courbet, peintre fran\u00e7ais en rupture avec la tradition acad\u00e9mique id\u00e9aliste de son temps, dans son immense tableau (6 m x 3 m) de 1849, conserv\u00e9 au Mus\u00e9e d’Orsay.<\/p>\n\n\n\n

C’est ainsi que commence habituellement la s\u00e9pulture d’un d\u00e9funt. Pour r\u00e9aliser cette \u0153uvre, Courbet (1819-1877) peignit le portrait d’une cinquantaine d’habitants de son village d’Ornans, cherchant \u00e0 saisir les diverses attitudes qui animent habituellement les participants aux c\u00e9r\u00e9monies fun\u00e8bres.<\/p>\n\n\n\n

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Tous sont ici des gens ordinaires, \u00e0 l’image du d\u00e9funt dont on aper\u00e7oit \u00e0 peine le cercueil recouvert d’un drap blanc, pr\u00e8s d’une fosse o\u00f9 reposent un cr\u00e2ne et le crucifix qui domine timidement l’assembl\u00e9e. Les couleurs sont terreuses, sombres et denses ; la lumi\u00e8re diffuse et ind\u00e9termin\u00e9e met nettement en valeur la pr\u00e9sence physique des personnages r\u00e9unis en une frise horizontale, sous un ciel gris-vert teint\u00e9 d’un voile jaun\u00e2tre.<\/p>\n\n\n\n

Consid\u00e9r\u00e9 comme le p\u00e8re du r\u00e9alisme, Courbet fit l’objet de vives critiques, notamment pour ce tableau per\u00e7u \u00e0 l’\u00e9poque comme un hommage \u00e0 la vulgarit\u00e9 et \u00e0 la laideur, en opposition frontale avec les canons du classicisme et du romantisme.<\/p>\n\n\n\n

De plus, il nous donne \u00e0 voir la r\u00e9alit\u00e9 telle qu’elle est, sans artifice, en rupture avec la biens\u00e9ance bourgeoise du si\u00e8cle, d\u00e9pouillant le rituel de toute grandeur convenue.<\/p>\n\n\n\n

En v\u00e9rit\u00e9, Courbet scrute la psychologie de chacun et, comme cela arrive encore aujourd’hui, rel\u00e8ve les bavardages des uns, le d\u00e9tachement des autres, ceux qui observent leurs voisins ou ceux qui ne sont l\u00e0 que par pure convenance.<\/p>\n\n\n\n

Ignorant tout de la port\u00e9e du moment, de jeunes enfants de ch\u0153ur r\u00e9clament des explications ou restent indiff\u00e9rents, tout comme le pr\u00eatre absorb\u00e9 par le rituel avec froideur.<\/p>\n\n\n\n

Au sein de cette foule rassembl\u00e9e devant un paysage aust\u00e8re se d\u00e9tachent les pr\u00eatres v\u00eatus d’un rouge \u00e9clatant, les habits sombres, les coiffes blanches des femmes et un chien errant qui s’approche du groupe, incarnant le v\u00e9risme d’une sc\u00e8ne humaine ordinaire.<\/p>\n\n\n\n

\u00ab La mise au tombeau \u00bb, mieux connue sous le nom de D\u00e9ploration du Christ mort, de Rubens<\/h2>\n\n\n
\n
\"\"
Wikipedia<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

D’une tout autre ferveur spirituelle est l\u2019\u00ab ensevelissement du corps du Christ \u00bb peint entre 1602 et 1606 par le ma\u00eetre flamand Pierre Paul Rubens (1577-1640), aujourd’hui conserv\u00e9 \u00e0 la Galerie Borgh\u00e8se.<\/p>\n\n\n\n

Ici encore, l’artiste m\u00e8ne une \u00e9tude psychologique rigoureuse des personnages, mais ceux-ci manifestent une intense communion avec l’\u00e9v\u00e9nement, invitant le spectateur \u00e0 p\u00e9n\u00e9trer au c\u0153ur du drame de la mort.<\/p>\n\n\n\n

Rubens admirait profond\u00e9ment la toile de Caravage sur ce m\u00eame th\u00e8me et, un an apr\u00e8s la mort de ce dernier en 1610, en \u00e9labora une r\u00e9interpr\u00e9tation \u00e0 Anvers, loin du mod\u00e8le original.<\/p>\n\n\n\n

Fils de protestants, il se convertit au catholicisme \u00e0 l’\u00e2ge de 14 ans, fit son apprentissage dans des ateliers locaux avant d’\u00eatre nomm\u00e9 ma\u00eetre de la guilde des peintres d’Anvers. Il re\u00e7ut rapidement d’importantes commandes des cours de France, d’Espagne et d’Italie, et mourut \u00e0 Anvers.<\/p>\n\n\n\n

Dans cette composition, Rubens place en hauteur une vaste arche obscure, embl\u00e8me du tr\u00e9pas, et fait du Christ un corps lourd et charnel que l’on d\u00e9pose dans le s\u00e9pulcre presque avec peine.<\/p>\n\n\n\n

Pour le soutenir, le jeune saint Jean retient le corps tout en \u00e9paulant la Vierge douloureuse, qui l\u00e8ve les yeux au ciel comme pour implorer le secours n\u00e9cessaire \u00e0 l’accomplissement d’un devoir si d\u00e9chirant. Le Christ, puissamment \u00e9clair\u00e9, laisse voir les marques du supplice, tandis que l’homme \u00e2g\u00e9 \u00e0 droite pourrait \u00eatre Nicod\u00e8me sous les traits de saint Philippe N\u00e9ri.<\/p>\n\n\n\n

Le front pliss\u00e9, ce dernier semble exprimer toute la difficult\u00e9 pratique et affective qu’exige l’ensevelissement.<\/p>\n\n\n\n

La lumi\u00e8re frappe avec vigueur le noble visage du Christ et celui de Marie-Madeleine, \u00e9plor\u00e9e et boulevers\u00e9e, rappelant sans doute son pass\u00e9, tout en laissant les autres figures dans la p\u00e9nombre afin de souligner le caract\u00e8re tragique de l’instant et de pr\u00e9server la pudeur de leur douleur.<\/p>\n\n\n\n

Le drame est adouci par des teintes chaudes qui contrastent avec des fonds sombres et feutr\u00e9s, en contrepoint \u00e0 la blancheur du linceul et de la chair du Christ, transmettant l’\u00e9motion de cette sc\u00e8ne avec une profonde intensit\u00e9.<\/p>\n\n\n\n

\u00ab B\u00e9n\u00e9diction des morts de la mer \u00bb de Lorenzo Viani<\/h2>\n\n\n
\n
\"\"
Commons Wikimedia<\/em><\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

Ensevelir les morts demeure une \u0153uvre exigeante et, particuli\u00e8rement \u00e0 notre \u00e9poque, c’est souvent la mer qui se charge de ce lourd fardeau. Combien de fois avons-nous entendu parler de ces disparus des flots, qu’il s’agisse de p\u00eacheurs ou de migrants.<\/p>\n\n\n\n

Lorenzo Viani, c\u00e9l\u00e8bre peintre contemporain de Viareggio, s’est pench\u00e9 sur cette r\u00e9alit\u00e9 et nous a l\u00e9gu\u00e9 une \u0153uvre majeure : \u00ab B\u00e9n\u00e9diction des morts de la mer \u00bb (1914-1916), conserv\u00e9e au mus\u00e9e de Viareggio.<\/p>\n\n\n\n

Le drame r\u00e9side tout entier dans la souffrance de ces femmes rassembl\u00e9es dans une r\u00e9signation silencieuse, serrant contre elles leurs enfants d\u00e9sormais orphelins. Le noir dense de leurs v\u00eatements fait ressortir leurs visages transform\u00e9s en masques d’affliction, parmi lesquels rayonne un visage jeune et doux, \u00e9voquant les traits de la Vierge.<\/p>\n\n\n\n

Des silhouettes sombres dress\u00e9es face \u00e0 une mer gris acier, \u00e0 peine troubl\u00e9e par l’\u00e9cume des vagues, attendent apr\u00e8s avoir \u00e9gren\u00e9 le chapelet pour le retour d’\u00eatres chers qu’elles ne reverront plus.<\/p>\n\n\n\n

Les coutumes port\u00e9es par la foi, rythm\u00e9es par le temps qui s’\u00e9coule inexorablement, s’expriment \u00e0 travers des couleurs vives, des aplats et une g\u00e9om\u00e9trie rigoureuse.<\/p>\n\n\n\n

La trag\u00e9die, l’angoisse de l’attente, l’\u00e9treinte des mains et la sollicitude maternelle envers ces enfants vou\u00e9s au deuil suscitent une vive \u00e9motion.<\/p>\n\n\n\n

Viani \u00e9crit : \u00ab la mer elle-m\u00eame, cimeti\u00e8re sans rives, a \u00e9t\u00e9 b\u00e9nie ce matin \u00e0 l’aube\u2026 Les familles des disparus se rassemblent pr\u00e8s de la petite chapelle\u2026 le pr\u00eatre l\u00e8ve le bras et la b\u00e9n\u00e9diction tombe en bruine sur la mer de plomb \u00bb. Les images et les mots traduisent avec force la r\u00e9alit\u00e9 de cette \u0153uvre de mis\u00e9ricorde corporelle, qui invite chacun au recueillement.<\/p>\n\n\n\n

Image de couverture :<\/strong> Wikip\u00e9dia<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

L\u2019\u0153uvre de mis\u00e9ricorde corporelle \u00ab ensevelir les morts \u00bb vue \u00e0 travers les toiles de plusieurs artistes. \u00ab Un enterrement \u00e0 Ornans \u00bb de Courbet C’est un enterrement que nous montre Courbet, peintre fran\u00e7ais en rupture avec la tradition acad\u00e9mique id\u00e9aliste de son temps, dans son immense tableau (6 m x 3 m) de 1849, … Lire plus<\/a><\/p>\n","protected":false},"author":43,"featured_media":99779,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_sitemap_exclude":false,"_sitemap_priority":"","_sitemap_frequency":"","ss_featured_image_title":"","ss_featured_image_alt":"\u00ab Un enterrement \u00e0 Ornans \u00bb","ss_featured_image_caption":"\u00ab Un enterrement \u00e0 Ornans \u00bb, tableau du peintre fran\u00e7ais Gustave Courbet.","footnotes":""},"categories":[2388],"tags":[3306,2616,2652],"class_list":["post-99776","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-commentaires-des-oeuvres-de-misericorde","tag-enterrer-les-morts","tag-evangile","tag-jesus-fr","infinite-scroll-item","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-50"],"yoast_head":"\nEnsevelir les morts : l'\u0153uvre de mis\u00e9ricorde dans l'art<\/title>\n<meta name=\"description\" content=\"L'\u0153uvre de mis\u00e9ricorde corporelle d'ensevelir les morts \u00e0 travers l'art de Courbet, Rubens et Viani, entre foi, deuil et compassion.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/spaziospadoni.org\/fr\/through-the-eyes-of-art-burying-the-dead\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" 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