{"id":9091,"date":"2023-03-03T09:55:00","date_gmt":"2023-03-03T08:55:00","guid":{"rendered":"https:\/\/sceaux-lagazette.fr\/?p=9091"},"modified":"2023-03-03T09:53:10","modified_gmt":"2023-03-03T08:53:10","slug":"michel-ange-luniversel-touche-a-tout-de-genie","status":"publish","type":"post","link":"https:\/\/sceaux-lagazette.fr\/index.php\/2023\/03\/03\/michel-ange-luniversel-touche-a-tout-de-genie\/","title":{"rendered":"Michel-Ange, universel, touche-\u00e0-tout et g\u00e9nial"},"content":{"rendered":"\n

CONFERENCE<\/strong> Lors des rencontres litt\u00e9raires et artistiques de Sceaux du 27 janvier \u00e0 l\u2019ancienne mairie, Dominique Br\u00eame, historien de l\u2019art pr\u00e9sentait \u00ab Michel-Ange, la force du destin<\/strong> \u00bb. S’il a fait passer son admiration pour ce g\u00e9ant des arts, sculpteur devenu peintre, dessinateur, architecte, po\u00e8te, il est all\u00e9 plus loin dans son propos.. Apr\u00e8s avoir en effet observ\u00e9 qu\u2019on dit \u00e0 tout bout de champ que des artistes comme lui sont des g\u00e9nies, il remarque qu\u2019on ne dit jamais pourquoi\u2026Sa conf\u00e9rence tente de comprendre ce qui en fait de Michel-Ange un v\u00e9ritable repr\u00e9sentant de ce cercle tr\u00e8s ferm\u00e9 des g\u00e9nies humains universels.<\/p>\n\n\n\n

\"Portrait
Portrait de Michel-Ange par Daniele de Volterra clich\u00e9 Wikim\u00e9dia Commons<\/figcaption><\/figure><\/div>\n\n\n\n

Trois quarts de si\u00e8cle de travail acharn\u00e9<\/h2>\n\n\n\n

Dominique Br\u00eame, directeur du domaine d\u00e9partemental de Sceaux, est conservateur du mus\u00e9e de l\u2019Ile-de-France pr\u00e9sentait \u00a0avec d\u00e9licatesse et sensibilit\u00e9, le parcours d\u2019un homme dont le g\u00e9nie n\u2019est plus discut\u00e9.<\/p>\n\n\n\n

N\u00e9 en 1475 \u00e0 Caprese (R\u00e9publique de Florence) d\u2019un p\u00e8re magistrat, Michel-Ange perd sa m\u00e8re en 1481. Il est alors plac\u00e9 chez un tailleur de pierre. En 1488, il devient l\u2019apprenti de Domanico Ghirlandaio et, en 1490, il est recommand\u00e9 par ce dernier \u00e0 Laurent de M\u00e9dicis qui devient son m\u00e9c\u00e8ne. \u00c0 la mort de ce dernier, en 1492, il part \u00e0 17 ans pour Bologne puis s\u2019installe \u00e0 Rome en 1496 o\u00f9 il peint sa Piet\u00e0. En 1504, il s\u00e9journe \u00e0 Florence puis est appel\u00e9 \u00e0 Rome en 1505 par le pape Jules II pour r\u00e9aliser son tombeau. De 1508 \u00e0 1512, il r\u00e9alise le plafond de la chapelle Sixtine. En 1513, Jules II d\u00e9c\u00e8de et L\u00e9on X, un M\u00e9dicis, lui succ\u00e8de. De 1519 \u00e0 1531, Michel-Ange est \u00e0 Florence et r\u00e9alise le tombeau des M\u00e9dicis \u00e0 la biblioth\u00e8que laurentienne. En 1532, de retour \u00e0 Rome, il r\u00e9alise le Jugement dernier (1535-1541) pour le pape Paul III. En 1546, il est nomm\u00e9 architecte de Saint-Pierre de Rome. Il meurt en 1564.<\/p>\n\n\n\n

L\u2019humanit\u00e9 retient en particulier comme chefs-d\u2019\u0153uvre de la Renaissance\u00a0de Michel-Ange :<\/p>\n\n\n\n

  • David (1504), lequel a longtemps orn\u00e9 la fa\u00e7ade du Palazzo Vecchio de Florence avant d’\u00eatre transf\u00e9r\u00e9 \u00e0 l’Acad\u00e9mie des Beaux-Arts de la ville ;<\/li>
  • La Piet\u00e0 (1499), expos\u00e9e dans une chapelle lat\u00e9rale de la basilique Saint-Pierre de Rome ;<\/li>
  • Mo\u00efse (1515) du tombeau de Jules II dans la basilique Saint-Pierre-aux-Liens de Rome ;<\/li>
  • Le plafond de la chapelle Sixtine – peint entre 1508 et 1512 ;<\/li>
  • Le Jugement dernier ex\u00e9cut\u00e9 entre 1536 et 1541 sur le mur de l\u2019autel de cette chapelle.<\/li><\/ul>\n\n\n\n
    \"\"
    Pi\u00e9ta de Michel-Ange (Saint-Pierre de Rome) Clich\u00e9 Wikim\u00e9dia Commons<\/figcaption><\/figure><\/div>\n\n\n\n

    Entre baroque et mani\u00e9risme : partir des avanc\u00e9es des autres pour aller plus loin<\/h2>\n\n\n\n

    Pour Dominique Br\u00eame, Michel-Ange ma\u00eetrisa comme jamais le nu masculin. Une spiritualit\u00e9 intense refl\u00e9tant ses angoisses existentielles \u00e9mane de ses \u0153uvres. Commentant les \u0153uvres de l\u2019artiste qu\u2019il projette sur l\u2019\u00e9cran, il indique que Michel-Ange est sans doute le premier \u00e0 faire passer sa personnalit\u00e9 tragique devant l\u2019\u0153uvre. Le peintre est \u00e0 la fois pr\u00e9curseur du baroque tout en appartenant aussi, d\u2019une certaine fa\u00e7on, au mani\u00e9risme.<\/p>\n\n\n\n

    Il analyse des \u0153uvres d\u2019autres artistes qu\u2019il commente pour tenter de d\u00e9terminer les influences de Michel-Ange. C\u2019est ainsi qu\u2019il analyse des tableaux de Tommaso Giovanni Cassai dit Masaccio, comme sa toile de 1424 \u00ab\u00a0Le paiement du tribut<\/em>\u00a0\u00bb qui est sans doute la premi\u00e8re \u00e0 introduire la perspective dans un paysage, avec l\u2019utilisation du point de fuite. Toutes les lignes de fuite de la composition convergent vers le visage central du Christ. Tandis que nombre d\u2019artistes \u00e9voluent encore dans l\u2019art gothique, Michel-Ange incorpore rapidement cet apport dans son travail.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

    \"\"

    Le paiement du tribut par Masaccio (lignes de fuite mat\u00e9rialis\u00e9es) Clich\u00e9 Wikim\u00e9dia Commons

    <\/figcaption><\/figure><\/div>\n\n\n\n

    Il poursuit ce travail d\u2019analyse avec \u00ab\u00a0la trinit\u00e9<\/em>\u00a0\u00bb (1428) fresque de Masaccio qui constituera pour longtemps la\u00a0perspective\u00a0peinte la plus achev\u00e9e, qui englobe l’autel et le squelette des premiers plans, avant que Michel-Ange ne reprenne le flambeau.<\/p>\n\n\n\n

    Ce travail de recherche se poursuit sur nombre d\u2019\u0153uvres, comme par exemple, la\u00a0\u00a0fresque de\u00a0Melozzo da Forl\u00ec\u00a0Ascensione di Cristo ou sur la flagellation du Christ de Pietro de la Francesca (1470) qui marque une nouvelle \u00e9tape dans la composition de la perspective, qui atteint avec cette toile sa pl\u00e9nitude.<\/p>\n\n\n\n

    \"\"
    La flagellation du Christ (Piero della Francesca) Clich\u00e9 Wikim\u00e9dia Commons<\/figcaption><\/figure><\/div>\n\n\n\n

    Dominique Br\u00eame fera de m\u00eame avec des \u0153uvres de Botticelli, Rapha\u00ebl ou Leonard de Vinci. Il montrera en particulier \u00e0 partir de la Joconde et de sa perspective atmosph\u00e9rique (plus c\u2019est \u00e9loign\u00e9, plus c\u2019est vague) appliqu\u00e9e m\u00eame directement sur le personnage qui n\u2019a pas de trait pr\u00e9cis, mais plut\u00f4t un continuum de mati\u00e8res\u2026 Il dira dans son propos comment Michel-Ange a int\u00e9gr\u00e9 cette approche dans son travail. <\/p>\n\n\n\n

    Comment ne pas remercier ce cic\u00e9rone, gr\u00e2ce \u00e0 qui j\u2019ai pu mesurer combien Michel-Ange a int\u00e9gr\u00e9 dans son travail les \u00e9volutions de ses contemporains et les a int\u00e9gr\u00e9es dans des directions qui ont form\u00e9 son g\u00e9nie\u00a0: anatomie, gr\u00e2ce, \u00e9l\u00e9gance, naturel\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

    CONFERENCE Lors des rencontres litt\u00e9raires et artistiques de Sceaux du 27 janvier \u00e0 l\u2019ancienne mairie, Dominique Br\u00eame, historien de l\u2019art pr\u00e9sentait \u00ab Michel-Ange, la force du destin \u00bb. S’il a fait passer son admiration pour ce g\u00e9ant des arts, sculpteur devenu peintre, dessinateur, architecte, po\u00e8te, il est all\u00e9 plus loin…<\/p>\n","protected":false},"author":15,"featured_media":9088,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[272,257],"tags":[],"class_list":["post-9091","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conferences-2","category-peinture","entry","simple"],"yoast_head":"\nMichel-Ange, universel, touche-\u00e0-tout et g\u00e9nial - La Gazette<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sceaux-lagazette.fr\/index.php\/2023\/03\/03\/michel-ange-luniversel-touche-a-tout-de-genie\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Michel-Ange, universel, touche-\u00e0-tout et g\u00e9nial - La Gazette\" \/>\n<meta property=\"og:description\" content=\"CONFERENCE Lors des rencontres litt\u00e9raires et artistiques de Sceaux du 27 janvier \u00e0 l\u2019ancienne mairie, Dominique Br\u00eame, historien de l\u2019art pr\u00e9sentait \u00ab Michel-Ange, la force du destin \u00bb. 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