{"id":42233,"date":"2023-10-13T09:21:30","date_gmt":"2023-10-13T07:21:30","guid":{"rendered":"https:\/\/arches-papers.com\/?p=42233"},"modified":"2024-02-02T16:13:37","modified_gmt":"2024-02-02T15:13:37","slug":"tresor-en-noir-blanc-au-petit-palais","status":"publish","type":"post","link":"https:\/\/arches-papers.com\/fr\/tresor-en-noir-blanc-au-petit-palais\/","title":{"rendered":"Tr\u00e9sor en noir & blanc au Petit Palais"},"content":{"rendered":"

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L\u2018exposition Tr\u00e9sor en noir & blanc<\/em> qui propose un panorama in\u00e9dit de l\u2019estampe du XVe au XXe si\u00e8cle, se tient jusqu\u2019au 14 janvier 2024 au Petit Palais, Mus\u00e9e des Beaux-arts de la ville de Paris. On peut y admirer une s\u00e9lection de pr\u00e8s de 200 feuilles d\u2019artistes de renom comme D\u00fcrer, Rembrandt, Callot, Goya, Toulouse-Lautrec, et bien d\u2019autres.<\/p>\n

ARCHES\u00ae est partenaire de cet \u00e9v\u00e9nement. Accueil – Arches Papers (arches-papers.com)<\/a><\/p>\n

La premi\u00e8re partie de l\u2019exposition pr\u00e9sente une s\u00e9lection des plus belles feuilles de la collection Dutuit qui en comprend 12\u00a0000, toutes dues aux plus grands peintres-graveurs de leur temps. Les fr\u00e8res Auguste et Eug\u00e8ne Dutuit sont les illustres donateurs \u00e0 l\u2019origine du mus\u00e9e de l\u2019Estampe moderne, cr\u00e9\u00e9 en 1908 au sein du Petit Palais.<\/p>\n

Le Petit Palais poss\u00e8de 264 estampes originales d\u2019Albrecht D\u00fcrer <\/strong>(1471-1528). La s\u00e9lection pr\u00e9sent\u00e9e permet de retracer l\u2019ensemble de sa carri\u00e8re.<\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”42237″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179128309{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697179861999{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

Albrecht D\u00fcrer, Melencolia I,1514. Burin, Petit Palais, mus\u00e9e des Beaux-arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text]On d\u00e9couvre ensuite Jacques Callot<\/strong> (1592-1635), c\u00e9l\u00e8bre ma\u00eetre nanc\u00e9en de l\u2019eau-forte dont le mus\u00e9e d\u00e9tient plus de 700 estampes. Les \u0153uvres expos\u00e9es montrent \u00e0 quel point cet artiste brilla par son imagination d\u00e9brid\u00e9e et son caract\u00e8re fantasque mais \u00e9galement par sa capacit\u00e9 \u00e0 cr\u00e9er dans ses minuscules estampes un v\u00e9ritable microcosme fourmillant d\u2019une multitude de d\u00e9tails et de personnages.[\/vc_column_text][vc_empty_space][vc_single_image image=”42244″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179186275{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697179899815{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Jacques Callot, Les Deux Pantalons, vers 1616-1617. Eau-forte, Petit Palais, mus\u00e9e des Beaux-arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]L\u2019exposition se poursuit avec Rembrandt<\/strong> (1606-1669), sans doute l\u2019artiste qui fascina le plus Eug\u00e8ne Dutuit. La collection comprend des pi\u00e8ces majeures et rares qui permettent d\u2019embrasser toute la carri\u00e8re du peintre-graveur hollandais et de retracer son \u00e9volution stylistique, iconographique et technique.[\/vc_column_text][vc_empty_space][vc_single_image image=”42251″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179265724{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697179928265{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Rembrandt (Rembrandt Harmensz van Rijn, dit), Le Coquillage, 1650. Eau-forte, pointe s\u00e8che et burin sur papier filigran\u00e9, Petit Palais, mus\u00e9e des Beaux-arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Enfin, le parcours pr\u00e9sente un ensemble exceptionnel d\u2019estampes de Goya<\/strong> (1746-1828).[\/vc_column_text][vc_empty_space][vc_single_image image=”42258″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179344409{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697179963216{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Francisco de Goya y Lucientes, Mani\u00e8re de voler, s\u00e9rie Les Disparates, planche 13, 1816-1823. Eau-forte et aquatinte sur v\u00e9lin, Petit Palais, mus\u00e9e des Beaux-arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]La seconde section de l\u2019exposition est consacr\u00e9e \u00e0 l\u2019estampe moderne. Pour constituer une collection d\u2019\u0153uvres plus contemporaines, Henry Lapauze, conservateur puis directeur du Petit Palais, sollicite en 1907 de nombreux dons de marchands, de collectionneurs, de savants ou d\u2019artistes. Il obtient \u00e9galement des dons d\u2019artistes et de familles d\u2019artistes qui saisissent cette opportunit\u00e9 rare et neuve de faire entrer l’estampe contemporaine dans un mus\u00e9e. Cette collecte est un v\u00e9ritable succ\u00e8s aux vues des noms des artistes que l\u2019on retrouve parmi les \u0153uvres rassembl\u00e9es : Buhot, Bracquemond, Ch\u00e9ret, Steinlen, Toulouse-Lautrec<\/strong>\u2026 Tous ont marqu\u00e9 l\u2019histoire de l\u2019estampe et dessinent le visage de la gravure contemporaine, essentiellement parisienne, des premi\u00e8res ann\u00e9es du XXe si\u00e8cle.[\/vc_column_text][vc_empty_space][vc_single_image image=”42265″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179404430{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697180009235{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Henri de Toulouse-Lautrec, Nicolle \u00e0 la Gaiet\u00e9-Rochechouart, 1893.Lithographie au crayon, au pinceau et au crachis, tir\u00e9e en noir sur papier v\u00e9lin, Petit Palais, mus\u00e9e des Beaux-Arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Ce fonds s\u2019enrichit d\u2019un lot d\u2019estampes \u00e9dit\u00e9es par la Ville de Paris. Les estampes \u00e9dit\u00e9es par la Ville de Paris avaient pour objectif d\u2019encourager et de soutenir les graveurs contemporains. Elles interpr\u00e8tent des \u0153uvres appartenant \u00e0 la Ville, par exemple des d\u00e9cors peints de l\u2019H\u00f4tel de Ville ou des mairies d\u2019arrondissement.[\/vc_column_text][vc_empty_space][vc_single_image image=”42279″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179454232{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697180044467{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Jules Jacquet, Le Triomphe de l’art d’apr\u00e8s Bonnat, vers 1898, pierre noire, crayons de couleur et rehauts de craie blanche sur papier, Petit Palais, mus\u00e9e des Beaux-Arts de la Ville de Paris, France \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Henri Lapauze s\u2019engage d\u2019embl\u00e9e \u00e0 valoriser l\u2019estampe en couleurs au sein du mus\u00e9e de l\u2019Estampe moderne. Il d\u00e9fend ainsi l\u2019int\u00e9r\u00eat d\u2019\u0153uvres que l\u2019on associait encore facilement \u00e0 une production commerciale et non artistique. Il est soutenu en cela par un autre profil de donateur, en la personne du marchand et \u00e9diteur Georges Petit (1856-1920). Ce dernier d\u00e9veloppe dans ses catalogues d\u2019\u00e9ditions un v\u00e9ritable plaidoyer pour la couleur. Il y reprend l\u2019argumentaire d\u00e9fendant l\u2019estampe originale, con\u00e7ue et ex\u00e9cut\u00e9e par le m\u00eame artiste, imprim\u00e9e en un nombre de tirage limit\u00e9, sign\u00e9e, parfois rehauss\u00e9e \u00e0 la main : autant d\u2019\u00e9l\u00e9ments qui lui conf\u00e8rent une raret\u00e9 et qui l\u2019affirment comme \u0153uvre d\u2019art \u00e0 part enti\u00e8re.[\/vc_column_text][vc_empty_space][vc_single_image image=”42286″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179514731{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697180083020{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

Johannes-Martin Grimelund, Rue de village sous la neige au soleil couchant, 1er quart du XXe si\u00e8cle. Eau forte en couleurs sur papier v\u00e9lin, Petit Palais, mus\u00e9e des Beaux-Arts de la Ville de Paris \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Enfin, la troisi\u00e8me section est consacr\u00e9e aux nouvelles acquisitions. Le fonds s\u2019accro\u00eet r\u00e9guli\u00e8rement, gr\u00e2ce \u00e0 de nouvelles g\u00e9n\u00e9reuses lib\u00e9ralit\u00e9s et par des achats. Entre 2013 et 2023, ce sont 1 289 estampes qui ont rejoint le Petit Palais \u2013 dont 1 136 issues du fonds d\u2019atelier de Pierre Roche (1855-1922), offert par la petite-fille par alliance et l\u2019arri\u00e8re-petite-fille de l\u2019artiste en 2015. La diversit\u00e9 des \u0153uvres ainsi acquises accompagne celle du fonds d\u00e9j\u00e0 existant : techniques vari\u00e9es, artistes reconnus ou red\u00e9couvertes\u2026[\/vc_column_text][vc_empty_space][vc_single_image image=”42293″ img_size=”full” alignment=”center” css_animation=”fadeIn” css=”.vc_custom_1697179563178{margin-top: 20px !important;margin-bottom: 10px !important;}”][vc_column_text css=”.vc_custom_1697180124920{margin-top: 0px !important;padding-top: 0px !important;}”]<\/p>\n

\u00a0Auguste Renoir, Fillette \u00e0 l\u2019orange, 1895, contre-\u00e9preuve de pastel \u00a9 Paris Mus\u00e9es \/ Petit Palais<\/em><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text]Petit Palais | Mus\u00e9e des Beaux-Arts de la Ville de Paris<\/a>[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"L\u2018exposition Tr\u00e9sor en noir & blanc qui propose un panorama in\u00e9dit de l\u2019estampe du XVe au XXe si\u00e8cle, se tient jusqu\u2019au 14 janvier 2024 au Petit Palais, Mus\u00e9e des Beaux-arts de la ville de Paris. ","protected":false},"author":18,"featured_media":42272,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[461],"tags":[],"class_list":["post-42233","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee-fr"],"yoast_head":"\nTr\u00e9sor en noir & blanc au Petit Palais - Arches Papers<\/title>\n<meta name=\"description\" content=\"L\u2018exposition Tr\u00e9sor en noir & blanc qui propose un panorama in\u00e9dit de l\u2019estampe, se tient jusqu\u2019au 14 janvier 2024 au Petit Palais \u00e0 Paris.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arches-papers.com\/fr\/tresor-en-noir-blanc-au-petit-palais\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tr\u00e9sor en noir & blanc au Petit Palais - 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