{"id":281441,"date":"2026-08-30T15:40:27","date_gmt":"2026-08-30T13:40:27","guid":{"rendered":"https:\/\/svetslik.si\/arcimboldo-glave-iz-sadja-rib-plamenov-2\/"},"modified":"2026-10-23T04:07:49","modified_gmt":"2026-10-23T02:07:49","slug":"arcimboldo-glave-iz-sadja-rib-plamenov","status":"publish","type":"post","link":"https:\/\/svetslik.si\/fr\/arcimboldo-glave-iz-sadja-rib-plamenov\/","title":{"rendered":"Les t\u00eates d\u2019Arcimboldo\u00a0: fruits, poissons et flammes"},"content":{"rendered":"
\"Giuseppe<\/figure>\n

\u00c0 quelques pas, c\u2019est une t\u00eate de profil. Quand on s\u2019approche, la t\u00eate se d\u00e9fait en radis, oignon, champignon et ch\u00e2taigne, et l\u2019on se retrouve soudain devant une nature morte. Ce basculement n\u2019est pas un effet secondaire\u00a0: c\u2019est le v\u00e9ritable sujet de la peinture d\u2019Arcimboldo. Cet article en quatre parties montre comment une telle t\u00eate est compos\u00e9e et ce qui vaut le d\u00e9tour de pr\u00e8s.<\/p>\n

Une t\u00eate faite d\u2019objets<\/h2>\n

Le proc\u00e9d\u00e9 se voit bien dans le Portrait aux l\u00e9gumes, Le Mara\u00eecher<\/a>. Un plat creux rempli de racines tr\u00f4ne sur la t\u00eate de l\u2019homme comme un bonnet. Le col qui est dessous est fait de radis qui d\u00e9passent vers l\u2019ext\u00e9rieur comme une fraise. La joue et la barbe sont un oignon et des champignons, l\u2019\u0153il est une ch\u00e2taigne dans sa bogue ouverte.<\/p>\n

L\u2019essentiel est que rien n\u2019est d\u00e9form\u00e9. Aucun l\u00e9gume n\u2019est pli\u00e9 pour ressembler davantage \u00e0 une joue. Chaque pi\u00e8ce reste exactement ce qu\u2019elle est, et pourtant leur disposition donne un visage. La ressemblance na\u00eet uniquement de la position, de la lumi\u00e8re et du contour – c\u2019est pourquoi la t\u00eate tient ensemble \u00e0 distance et, de pr\u00e8s, se d\u00e9fait de nouveau en ses \u00e9l\u00e9ments.<\/p>\n

Adam\u00a0: une barbe de corps entrelac\u00e9s<\/h2>\n

Adam<\/a> montre un vieillard en profil complet, tourn\u00e9 vers la gauche. De pr\u00e8s, on d\u00e9couvre que le front, la joue, les cheveux et la barbe ne sont pas peints comme de la peau et du poil, mais comme une multitude de petits corps d\u2019enfants entrelac\u00e9s. Les bras et les dos jouent le r\u00f4le de m\u00e8ches, un dos courb\u00e9 devient un sourcil, des membres emm\u00eal\u00e9s deviennent les boucles de la barbe.<\/p>\n

O\u00f9 cette \u0153uvre est accroch\u00e9e aujourd\u2019hui, notre article ne le dit pas, et nous ne l\u2019affirmons pas. On peut d\u00e9crire ce qui est sur la toile – et cela suffit, car toute l\u2019invention tient justement dans le d\u00e9tail.<\/p>\n

L\u2019Eau et le Feu\u00a0: corail, poulpe, pierre \u00e0 briquet<\/h2>\n

L\u2019Eau<\/a> date de 1566\u00a0; l\u2019original mesure 67 x 52 cm, c\u2019est une huile sur toile, conserv\u00e9e au Kunsthistorisches Museum de Vienne. La t\u00eate est enti\u00e8rement compos\u00e9e d\u2019animaux marins\u00a0: un corail tr\u00f4ne au sommet comme une couronne, un poulpe forme le visage, des raies, des coquillages et un homard composent le cou et l\u2019\u00e9paule. Le rang de perles au cou est la seule pi\u00e8ce qui ne vienne pas de l\u2019eau.<\/p>\n

Le Feu<\/a> date de la m\u00eame ann\u00e9e, mesure 67 x 51 cm et est lui aussi conserv\u00e9 au Kunsthistorisches Museum de Vienne\u00a0; contrairement \u00e0 L\u2019Eau, il est peint \u00e0 l\u2019huile sur bois. La t\u00eate est compos\u00e9e d\u2019une pierre \u00e0 briquet et d\u2019un briquet d\u2019acier, de bougies, de m\u00e8ches, de lampes \u00e0 huile et d\u2019un faisceau de canons d\u2019arme \u00e0 feu qui forme la poitrine. La flamme elle-m\u00eame devient les cheveux. Les deux \u0153uvres appartiennent au cycle des Quatre \u00c9l\u00e9ments, que nous d\u00e9crivons dans un article sp\u00e9cial consacr\u00e9 aux deux s\u00e9ries de quatre<\/a>.<\/p>\n

Des tableaux qu\u2019on peut retourner<\/h2>\n

Certaines de ces t\u00eates fonctionnent dans les deux sens. Le Mara\u00eecher en est l\u2019exemple que l\u2019on cite\u00a0: plac\u00e9 \u00e0 l\u2019endroit, il montre un plat de l\u00e9gumes, une paisible nature morte de cuisine. Si on retourne l\u2019\u0153uvre, le plat devient un bonnet, les radis un col, et le visage regarde le spectateur.<\/p>\n

C\u2019est pourquoi nous conservons et montrons Le Mara\u00eecher avec le plat vers le haut\u00a0: c\u2019est la position dans laquelle on le lit comme une nature morte, et la t\u00eate est la surprise qui n\u2019appara\u00eet qu\u2019au retournement. Celui qui accroche l\u2019\u0153uvre chez lui d\u00e9cide du m\u00eame coup laquelle des deux lectures sera visible en premier.<\/p>\n

Lu \u00e0 la cour comme un trait d\u2019esprit<\/h2>\n

Arcimboldo n\u2019a pas peint ces t\u00eates comme une curiosit\u00e9 en soi, mais pour une cour qui appr\u00e9ciait de telles ambigu\u00eft\u00e9s. En 1562, il a r\u00e9pondu \u00e0 l\u2019invitation de l\u2019empereur Ferdinand Ier \u00e0 Vienne et \u00e0 Prague et y est rest\u00e9 au service, plus tard aupr\u00e8s de Maximilien II et de Rodolphe II. Une t\u00eate faite de produits des champs \u00e9tait l\u00e0 aussi un hommage\u00a0: elle disait que sous ce souverain les r\u00e9coltes prosp\u00e8rent et que les \u00e9l\u00e9ments sont en ordre.<\/p>\n

Le double visage \u00e9tait donc \u00e0 la fois plaisanterie et c\u00e9l\u00e9bration, et les deux \u00e9taient compris. Rodolphe II s\u2019est plus tard fait peindre en Vertumne, le dieu romain des saisons, enti\u00e8rement compos\u00e9 de fruits et de c\u00e9r\u00e9ales. \u00c0 la mort du peintre, cette invention est tomb\u00e9e dans l\u2019oubli, jusqu\u2019\u00e0 ce que les surr\u00e9alistes la red\u00e9couvrent au XXe si\u00e8cle. Vous en saurez plus sur sa vie dans l\u2019article sur Giuseppe Arcimboldo<\/a>.<\/p>\n

Pourquoi le travail \u00e0 la main r\u00e9compense le regard de pr\u00e8s<\/h2>\n

Une \u0153uvre qui montre de pr\u00e8s autre chose que de loin exige du spectateur qu\u2019il s\u2019approche. C\u2019est l\u00e0 que se d\u00e9cide si la surface offre quelque chose. Sur une feuille imprim\u00e9e, en s\u2019approchant, on tombe sur une trame qui n\u2019a rien \u00e0 voir avec les l\u00e9gumes. Sur une toile peinte \u00e0 la main, on tombe sur la couleur qui tient, sur le bord d\u2019un coup de pinceau, sur la lumi\u00e8re qui s\u2019accroche aux couches.<\/p>\n

Chaque tableau<\/strong> est chez nous peint \u00e0 l\u2019huile sur toile, coup de pinceau apr\u00e8s coup de pinceau et sur commande. Pour une \u0153uvre dont tout l\u2019enjeu est dans le regard de pr\u00e8s, ce n\u2019est pas un d\u00e9tail secondaire\u00a0: c\u2019est la raison pour laquelle le trait d\u2019esprit fonctionne.<\/p>\n

Vous choisissez le cadre sur la page de chaque \u0153uvre, en 3D\u00a0: vous voyez la baguette choisie en temps r\u00e9el sur cette \u0153uvre pr\u00e9cise, et cette vue montre le cadre et rien d\u2019autre. L\u2019effet de l\u2019\u0153uvre dans votre pi\u00e8ce est un service distinct – nous r\u00e9alisons la mise en situation du tableau dans la pi\u00e8ce<\/a> s\u00e9par\u00e9ment. Pour savoir o\u00f9 une telle t\u00eate a sa place dans la maison, lisez l\u2019article sur la cuisine et la salle \u00e0 manger<\/a>.<\/p>\n

Vous trouverez toutes les \u0153uvres du peintre dans la galerie Giuseppe Arcimboldo<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 quelques pas, c\u2019est une t\u00eate de profil. Quand on s\u2019approche, la t\u00eate se d\u00e9fait en radis, oignon, champignon et ch\u00e2taigne, et l\u2019on se retrouve soudain devant une nature morte. Ce basculement n\u2019est pas un effet secondaire\u00a0: c\u2019est le v\u00e9ritable sujet de la peinture d\u2019Arcimboldo. Cet article en quatre parties […]<\/p>\n","protected":false},"author":1,"featured_media":297377,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14553],"tags":[],"class_list":["post-281441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reproductions-de-tableaux-blog"],"acf":[],"yoast_head":"\nArcimboldo\u00a0: t\u00eates de fruits, poissons, flammes \u2013 peint<\/title>\n<meta name=\"description\" content=\"Comment Arcimboldo compose une t\u00eate de l\u00e9gumes, de poissons et de flammes, et ce que montre de pr\u00e8s un tableau peint \u00e0 la main.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/svetslik.si\/fr\/arcimboldo-glave-iz-sadja-rib-plamenov\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" 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