{"id":99887,"date":"2024-09-08T01:00:33","date_gmt":"2024-09-08T00:00:33","guid":{"rendered":"https:\/\/spaziospadoni.org\/?p=99887"},"modified":"2026-10-13T23:09:59","modified_gmt":"2026-10-13T22:09:59","slug":"avec-les-yeux-de-lart-pardonner-les-offenses","status":"publish","type":"post","link":"https:\/\/spaziospadoni.org\/fr\/avec-les-yeux-de-lart-pardonner-les-offenses\/","title":{"rendered":"Avec les yeux de l\u2019art : Pardonner les offenses"},"content":{"rendered":"\n

L’\u0153uvre de mis\u00e9ricorde spirituelle \u00abpardonner les offenses\u00bb vue par quelques peintres.<\/em><\/p>\n\n\n\n

Comment pardonner les offenses ? Qui peut r\u00e9pondre \u00e0 cette question ? La Mis\u00e9ricorde peut-elle, \u00e0 partir de la douleur, mener au pardon ? Certains ont r\u00e9pondu non par des mots, mais par un exemple vivant et ind\u00e9l\u00e9bile.<\/p>\n\n\n\n

Certains artistes ont \u00e9galement r\u00e9sum\u00e9 la souffrance endur\u00e9e et le pardon \u00e0 travers des images qui demeurent non seulement des chefs-d’\u0153uvre artistiques, mais surtout une source de r\u00e9flexion et d’enseignement.<\/p>\n\n\n\n

Le \u00abChrist \u00e0 la colonne\u00bb de Bramante (1444-1514) m\u00e9rite d’\u00eatre contempl\u00e9 quelques minutes afin d’apporter un premier \u00e9l\u00e9ment de r\u00e9ponse \u00e0 la question initiale. L’auteur, issu d’une modeste famille pr\u00e8s d’Urbino, s’est form\u00e9 dans l’entourage des Montefeltro avant d’\u00eatre appel\u00e9 \u00e0 Milan, o\u00f9 il a laiss\u00e9 d’admirables r\u00e9alisations architecturales. Bien qu’il ne soit pas principalement r\u00e9put\u00e9 comme peintre, ce panneau de 1490 conserv\u00e9 \u00e0 la Pinacoth\u00e8que de Brera est sa seule peinture sur bois d’attribution certaine, d’une beaut\u00e9 qui suscite l’admiration. Comme chacun sait, toute la vie du Christ a \u00e9t\u00e9 v\u00e9cue pour le pardon des p\u00e9ch\u00e9s.<\/p>\n\n\n\n

Bramante<\/h2>\n\n\n\n

L’iconographie de l’\u00e9poque, avant la crucifixion, repr\u00e9sentait J\u00e9sus li\u00e9 tandis que les bourreaux s’acharnaient sur Lui dans le lieu de son supplice. Bramante \u00e9carte quant \u00e0 lui les personnages secondaires pour ne pr\u00e9senter que J\u00e9sus \u00e0 mi-corps, avec un visage d’une beaut\u00e9 et d’une spiritualit\u00e9 singuli\u00e8res. Les d\u00e9tails soign\u00e9s r\u00e9v\u00e8lent des yeux clairs d’o\u00f9 perle une larme limpide, t\u00e9moignant d’une compassion davantage tourn\u00e9e vers ses bourreaux que vers son propre sort. Il laisse dans la p\u00e9nombre l’\u0153il gauche tum\u00e9fi\u00e9, tout en montrant les l\u00e8vres entrouvertes du Ma\u00eetre s’adressant \u00e0 celui qui le frappe, dialogue invitant \u00e0 la conversion et au pardon.<\/p>\n\n\n\n

L’\u00e9clairage frontal cr\u00e9e un jeu de reflets lumineux, oscillant entre des tonalit\u00e9s blondes, bleut\u00e9es et les reflets cuivr\u00e9s de la chevelure et de la barbe, tout en mettant en valeur la musculature d’un corps parfait, enserr\u00e9 par d’\u00e9paisses cordes et attach\u00e9 \u00e0 un pilier Renaissance. Par une ouverture situ\u00e9e entre la t\u00eate et l’\u00e9paule du Christ, un paysage laisse entrevoir la paix de la cr\u00e9ation, tandis qu’un ciboire dor\u00e9 pos\u00e9 sur le rebord \u00e9voque l’Eucharistie.<\/p>\n\n\n\n

William Bouguereau<\/h2>\n\n\n\n

Il n’est pas ais\u00e9 de condenser la douleur et le pardon mis\u00e9ricordieux au sein d’une seule composition ; William Bouguereau (1825-1905) y est parvenu avec sa \u00abPiet\u00e0\u00bb de 1825 (longtemps conserv\u00e9e dans la collection de Mel Gibson). D’ascendance anglaise et de confession catholique, il r\u00e9alisa des \u0153uvres remarquables, caract\u00e9ris\u00e9es par une parfaite ma\u00eetrise picturale nourrie par l’\u00e9tude anatomique et le r\u00e9alisme de son si\u00e8cle. Dans cette toile, la Vierge \u00e9treint avec ferveur le corps du Christ descendu de la croix.<\/p>\n\n\n\n

L’\u00e9clat des aur\u00e9oles rehauss\u00e9es d’ornements n\u00e9oclassiques, contrastant avec le voile noir exempt de model\u00e9 et de volume, souligne l’affliction de la Vierge. Ses grands yeux sombres rougis par les larmes demeurent dans l’ombre ; ses l\u00e8vres closes par la retenue du pardon ne laissent \u00e9chapper aucune plainte. Son deuil silencieux semble interroger l’origine de tant d’injustice, tandis qu’elle serre contre son c\u0153ur plein de mis\u00e9ricorde son Fils dont la t\u00eate repose sur son \u00e9paule.<\/p>\n\n\n\n

James Tissot<\/h2>\n\n\n\n

Plus proche de notre \u00e9poque se trouve la vision picturale du fils prodigue peinte par Tissot. D’abord chroniqueur distingu\u00e9 de la vie mondaine parisienne au XIXe si\u00e8cle, il partit en Terre sainte apr\u00e8s une exp\u00e9rience mystique afin d’y \u00e9tudier le Nouveau Testament pendant une d\u00e9cennie. N\u00e9 \u00e0 Nantes en 1836, James Tissot con\u00e7ut des centaines de gravures et d’illustrations consacr\u00e9es aux r\u00e9cits \u00e9vang\u00e9liques.<\/p>\n\n\n\n

\u00abLe Retour\u00bb invite chaque g\u00e9n\u00e9ration \u00e0 se reconna\u00eetre, au fil de ses \u00e9garements, dans la figure du fils prodigue. Le tableau repr\u00e9sente l’\u00e9treinte entre le p\u00e8re et l’enfant sur les quais d’un port rappelant Nantes, o\u00f9 un troupeau de porcs s’appr\u00eate \u00e0 \u00eatre charg\u00e9 sur un navire, tandis que sur le flanc droit du bateau, le fr\u00e8re a\u00een\u00e9 assiste impassible \u00e0 la sc\u00e8ne, conform\u00e9ment \u00e0 la parabole.<\/p>\n\n\n\n

\u00c0 la faveur d’un jeu de contrastes lumineux, Tissot traduit le fardeau qui pesait sur le c\u0153ur des deux protagonistes : le fils aux genoux fl\u00e9chis devant son p\u00e8re, et ce dernier laissant tomber son chapeau pour se pencher et le serrer dans ses bras.<\/p>\n\n\n\n

Le visage du jeune homme s’efface presque dans l’\u00e9treinte paternelle, tandis que ses mains s’accrochent \u00e0 son p\u00e8re qui caresse doucement sa t\u00eate, lui restituant par le pardon sa dignit\u00e9 premi\u00e8re. Cette \u0153uvre suscite une vive \u00e9motion chez le spectateur, attentif \u00e0 l’intensit\u00e9 de cet accueil.<\/p>\n\n\n\n

La douceur de ce geste d\u00e9peint par James, associ\u00e9e aux exemples insignes du Christ, de Marie et des saints, offre l’\u00e9lan n\u00e9cessaire pour accomplir cette \u0152uvre de Mis\u00e9ricorde.<\/p>\n\n\n\n

Foto di Wikipedia<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

L’\u0153uvre de mis\u00e9ricorde spirituelle \u00abpardonner les offenses\u00bb vue par quelques peintres. Comment pardonner les offenses ? Qui peut r\u00e9pondre \u00e0 cette question ? La Mis\u00e9ricorde peut-elle, \u00e0 partir de la douleur, mener au pardon ? Certains ont r\u00e9pondu non par des mots, mais par un exemple vivant et ind\u00e9l\u00e9bile. Certains artistes ont \u00e9galement r\u00e9sum\u00e9 la … Lire plus<\/a><\/p>\n","protected":false},"author":43,"featured_media":99894,"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 Le Retour \u00bb de Tissot","ss_featured_image_caption":"\u00ab L\u2019Enfant prodigue dans la vie moderne : Le Retour \u00bb (1880), du peintre James Tissot","footnotes":""},"categories":[2388],"tags":[2616,2652,10944],"class_list":["post-99887","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-commentaires-des-oeuvres-de-misericorde","tag-evangile","tag-jesus-fr","tag-pardonner-les-offenses","infinite-scroll-item","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-50"],"yoast_head":"\nPardonner les offenses: l'\u0152uvre de Mis\u00e9ricorde dans 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