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Published Version Article Ut pictor coquus. Autour de l'Éloge du hareng mariné (1656) de Joseph de Bray (v. 1630–1664) BLANC, Jan Reference BLANC, Jan. Ut pictor coquus. Autour de l’Éloge du hareng mariné (1656) de Joseph de Bray (v. 1630–1664). Etudes de lettres : bulletin de la Faculté des lettres de l'Université de Lausanne, 2007, vol. IV, p. 65-93 Available at: http://archive-ouverte.unige.ch/unige:94228 Disclaimer: layout of this document may differ from the published version. 1 / 1 ÉTUDES DE LETTRES Revue de la Faculté des lettres de 1'Université de Lausanne fondée en 1926 par la Société des Études de Lettres ENTRE TRADITION ET NOUVEAUTÉ: POUR UN APERÇU ACTUEL DE LA RECHERCHE EN HISTOIRE DE L'ART EN SUISSE Christian MICHEL, Jan BLANC et Denise ZARU ENTRE TRADITION ET NOUVEAUTÉ: Avant-propos 3 POUR UN APERÇU ACTUEL DE LA RECHERCHE EN Thomas HAENSLI Exacta descriptio atque delineato -Remarques sur la fonction HISTOIRE DE L'ART EN SUISSE attribuée aux illustrations dans le traité de Hans Blum Von den fünff Sülen grundtlicher bericht 11 DeniseZARU Une étrange Annonciation: les volets d'orgue de l'église de S. Pietro Martire à Murano de Girolamo Bonsignori 31 . JanBLANC Ut pictor coquus. Autour de l'Éloge du Hareng mariné (1656) de Joseph de Bray (v. 1630-1664) 65 Katia POLETTI Vallotton et la photographie: arrêt sur image 95 Marco COSTANTINI Vanessa Beecroft: l'immobilité comme geste 119 Jan SAHLI Intermediale Forschung zwischen Film- und Kunstwissenschaft: Zu Lasl6 Moholy-Nagys Filmwerk und Theorie 147 Heike ENDTER Okonomische Utopien und ihre visuelle Umsetzung in Science-Fiction Filmen 165 Antoinette MAGET D'un décalage de la prise de conscience face au patrimoine. Approche législative en France et en Égypte 179 ADRESSES DES AUTEURS 197 TABLES DES MATIÈRES 2006 199 64 ÉTUDES DE LETTRES SGARBI, Vittoro (éd.), Natura e maniera. Le ceneri violette di Giorgione tra Tiziano e Caravaggio, Milano, Skira, 2004, p. 202-203. ThEVISANI, Filippo (éd.), Restauri ne! Polesine. Dipinti: documenta­ zione e conservazione, cat. exp., Milano, Electa, p. 112-132. ROBB, David M., «The Iconography of the Annunciation in the Fourteenth and Fifteenth Centuries», The Art Bulletin, 18, 1936, p. 480-526. ROMANO, Serena, «Giuditta e il Fondaco degli Tedeschi», in Giorgione UT PICTOR COQUUS e la cuttura veneta tra '400 e '500. Mito, allegoria, analisi iconologica, Roma, De Luca, 1981, p. 113-125. AUTOUR DE L'ÉLOGE DU HARENG MARINÉ (1656) SCHILLER, Gertrud, «Die Verkündigung an Maria», in Ikonographie DE JOSEPH DE BRAY (V. 1630-1664) der christlichen Kunst, Gütersloh, Gerd Mohn, 1966, p. 44-63, vol. I. SINDING-LARSEN, Staale, Christ in the Council Hall. Studies in the religious /conography of the venetian Republic, Roma, L'Erma, À travers 1' étude de 1'Éloge du hareng mariné (Dresde, Staatliche 1974. Kunstsammlungen) peint par Joseph de Bray, cet article se propose, en se fon­ dant sur l'analyse formelle et iconographique de l'œuvre, mais aussi de son con­ TOGNOLI BARDIN, Luisa, «La Giuditta biblica nelle arti figurative: una texte de production et de ses références, de reconstituer un certain nombre de ses ricerca», Arte cristiana, 83/768, 1995, p. 219-226. présupposés théoriques et pratiques, et de montrer comment le genre de la nature UPPENKAMPP, Bettina, Judith und Holophernes in der italienischen morte se codifie au xvne siècle, à partir de référents et de modèles sensiblement Malerei des Barock, Berlin, Dietrich Reimer, 2004. différents de ceux des genres plus prestigieux et reconnus. VASARI, Giorgio, Le vite de' più eccellenti pittori scultori e architetti nelle redazioni del 1550 e 1568, texte et commentaire R. Bettarini, P. Barocchi, Firenze, Sansoni, 1975 et 1985. Vol. IV et V. VELLEKOOP, Kees, «Die Symbolik des mittelalterlichen Orgel» in L'œuvre du peintre hollandais Joseph de Bray constitue la source 1 Musikalische Ikonographie, éd. H. Heckmann, M. Holl, H. J. de nombreuses interrogations de la part des historiens d' art • Sa car­ Marx, Laaber, Laaber Verlag, 1994, p. 289-293. rière artistique est brève et mal définie. On ignore sa date de nais­ WORMANN, Reinhardt, «Bonsignori, Fra Girolamo», in Allgemeines sance, qu'il faut sans doute situer à la fin du premier tiers du XVIF Künstler-Lexikon, München, K.G. Saur, 1996, p. 615, vol. XII. siècle. Fait certain: le peintre meurt en 1664, lors de l'épidémie de 2 ZANNANDREIS, Diego, Le vite dei pittori e architetti veronesi, éd. et peste qui sévit à Haarlem et qui décime une partie de sa famille ; mais préface G. Biadego, Bologna, Forni, 1971 (1891). sa formation est incertaine, et ses œuvres résistent à 1' analyse. Il a pro­ bablement fait son apprentissage dans l'atelier de son père, Salomon de Bray (1597-1664). Mais seuls trois tableaux signés et datés (des natures mortes) sont connus aujourd'hui, qui reprennent, assez 1 Ce «mystère» se traduit notamment par la rareté des études consacrées à Joseph de Bray et, dans une moindre mesure, à sa famille: A. Van der Marel, «De kunstschilders de Bray en hun familie», col. 6-26. 2 En plus de Joseph, son père, Salomon, meurt également cette année, le 11 mai, deux mois après son fils Jacob et ses filles Juliana et Margaretha. 67 UT PICTOR COQUUS 66 ÉTUDES DE LETTRES curieusement, le même sujet et une structure comparable3• Chacune Et pour cela, une tranche, de ces œuvres présente, sur une table soigneusement dressée, recou­ Aussi grosse qu'une miche verte d'une nappe blanche et ornée de nombreux mets et boissons, une De pain de seigle belle pièce de hareng, finement préparée et découpée, placée, bien en Est une bonne médecine. évidence, sur une assiette, et répondant à la présence, sur le côté ou à La thériaque5 ne peut être l'arrière-plan de la composition, d'un long poème, intitulé l'Éloge du Aussi digne d'être louée. hareng mariné (Lof van den Pekelharingh), et signé du poète et phy­ sicien Jacob Westerbaen (1599-1670), oncle du peintre4. Un ivrogne qui aime goûter À la mousse de Breda ou de Haarlem, Éloge du hareng mariné Ou aux tonneaux de Delft, Rendra ainsi à sa gorge Prenez un hareng mariné, Vivacité, force et douceur Bien clair, au corps lourd, gras et long, Pour pouvoir reboire le lendemain. Dont la tête a été retirée, Le ventre et le dos Et si vous avez la nausée Très proprement entaillés, Et que vous vous asseyez et baillez, Les écailles grattées, Il peut vous redonner de la joie, Sécher aussi les catarrhes qui, Les brouailles enlevées, Partant de la tête, Cru ou braisé. Atteignent la poitrine et les dents. Puis n'oubliez point les oignons. Et avant que le soir ne voie Il vous aidera aussi à uriner Le soleil se coucher, Et vous ne manquerez pas Dévorez-le de faim. (Avec mes excuses) de déféquer. Il ne laissera aucun vent au repos. Il rendra de l'appétit à l'estomac Pour la nourriture et la boisson. 3 Ces trois tableaux sont datés de 1650 (lieu de conservation inconnu), 1656 Qu'en pensez-vous (lecteur)? N'est-ce pas une merveille (Dresde, Gemiildegalerie Alte Meister) et 1657 (Aachen, Suermondt Ludwig Que celui qui se régale d'un hareng mariné Museum). À noter qu'une nature morte attribuée à Joseph de Bray et représen­ Aille bien mieux que celui qui 6 tant un vase, une coupe en argent et de la vigne, a été mise en vente, le 27 Emplit avidement son ventre de délicieuses délicatesses? janvier 2006, à New-York (Sotheby's). En outre, deux dessins signés existent également: un Joseph recevant son père et ses frères en Égypte (1655, Bruxelles, Musées royaux des beaux-arts), d'après le tableau peint par Salomon sur le même sujet (1655, coll. particulière) et un Portrait d'homme (Haarlem, Teylers Museum). 5 La «thériaque» est le nom donné, durant l'Antiquité, à une plante censée 4 combattre les effets des morsures des bêtes sauvages et des serpents. Elle fut ad­ Ce poème a été publié pour la première fois, en 1633, dans la deuxième ministrée, pour la première fois, à Néron, par son médecin personnel Mithridate édition des Poèmes d'amour (Minne-dichten). Il a ensuite été republié dans les Poèmes (Gedichten, 1657) de Westerbaen, sur la même page qu'un autre Andromaque. Westerbaen, Gedichten, p. 538: «Een Peeckel-haringh blanck, 1 Swaer-li- poème, intitulé le Déménagement de Cupidon (Verhuysinge van Cupido ), et qui 6 jvigh, dick en lanck, 1 Dien't hoofd is afgeslagen; 1 Den buyck en rugg' met een est littéralement représentée par De Bray dans son tableau conservé à Aachen. 1 Heel proper afgesneen 1 De vellen af-getogen 1 Het grom voor uijt gedaen 1 Westerbaen s'est fait une spécialité de ces poèmes à thématique culinaire ou rus­ Raeuw of met vijer gebraen, 1 Dan geen ajuyn vergeten; 1 En eer des avondts laet tique. Il publie notamment, en 1654, un long poème consacré à l'éloge de sa mai­ 1 De Son te bedde gaet 1Met honger op ghevreeten; 1 En daer toe dan een stick 1 son de campagne, à Ockenburgh (J. Westerbaen, Arctoa Tempe: Ockenburgh). 69 UT PICTOR COQ VUS 68 ÉTUDES DE LETTRES Une longue analyse consacrée par Gre~or J. M. Weber au thème poétique des trois versions peintes de l'Eloge a permis de retracer l'histoire et la genèse des vers rédigés par Westerbaen, jusqu'à leur utilisation par De Bray, et d'insister également sur les traditions mé­ dicales et pharmacologiques dans lesquelles ces natures mortes s'ins­ crivaient?. On s'est en revanche peu interrogé sur le choix de ce sujet par Joseph de Bray, et sur le sens qu'il avait pu donner à ces natures mortes tout à fait singulières.
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