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Images Re-Vues, 13 | 2016, « Supports » [En Ligne], Mis En Ligne Le 20 Août 2016, Consulté Le 28 Février 2021

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Images Re-Vues, 13 | 2016, « Supports » [En Ligne], Mis En Ligne Le 20 Août 2016, Consulté Le 28 Février 2021 Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports Doina Craciun et Bénédicte Duvernay (dir.) Édition électronique URL : http://journals.openedition.org/imagesrevues/3901 DOI : 10.4000/imagesrevues.3901 ISSN : 1778-3801 Éditeur : Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Référence électronique Doina Craciun et Bénédicte Duvernay (dir.), Images Re-vues, 13 | 2016, « Supports » [En ligne], mis en ligne le 20 août 2016, consulté le 28 février 2021. URL : http://journals.openedition.org/imagesrevues/ 3901 ; DOI : https://doi.org/10.4000/imagesrevues.3901 Ce document a été généré automatiquement le 28 février 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. 1 SOMMAIRE Editorial Bénédicte Duvernay The Deceptive Surface: Perception and Sculpture’s “Skin” Christina Ferando Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando L’épiderme des statues grecques : quand le marbre se fait chair Adeline Grand-Clément Une archéologie des icônes éthiopiennes Matériaux, techniques et auctorialité au XVe siècle Claire Bosc-Tiessé et Sigrid Mirabaud Des images en quête de supports L’iconographie implicite des crises hallucinatoires grisi siknis Maddalena Canna Poser la couleur : le Centre Pompidou Mobile, la coloration des murs et l’anthropologie Arnaud Dubois Images Re-vues, 13 | 2016 2 Editorial Bénédicte Duvernay 1 Le thème de ce numéro invitait historiens de l’art, restaurateurs, archéologues, anthropologues, etc. à proposer leurs réflexions sur des objets spécifiques du point de vue de la relation entre matière et image, entendues au sens que leur donne Cesare Brandi lorsqu’il définit la matière comme « tout ce qui sert à l’épiphanie de l’image », et en distinguant dans cette catégorie la matière comme prioritairement support, structure (les fondations d’un édifice, le bois d’une icône, etc.) et la matière participant de l’aspect de l’image (l’enduit peint d’une façade, le marbre taillé en statue, etc.)1. La Teoria del restauro livre l’exemple d’une œuvre peinte, où le panneau de bois est la matière-support, et la couche de peinture la matière-aspect, tout en précisant, d’emblée, que la matière, comme véhicule de la forme, lui est coextensive, et que la distinction entre matière-support et matière-aspect est la plupart du temps poreuse. 2 En prenant les distinctions théoriques de Brandi comme point de départ, nous voulions suggérer aux auteurs quelques pistes de réflexions originales : nous intéressaient en particulier les cas historiques particulièrement significatifs quant à la question du revêtement ou du dévoilement des supports. Deux articles y ont répondu très précisément, en dialoguant d’ailleurs l’un avec l’autre. Celui d’Adeline Grand-Clément porte sur la mise en couleur des statues grecques ; il rappelle que khrôs en grec signifie à la fois la peau et la couleur, et montre que c’est au fil du temps que la blancheur du marbre a été associée à la pureté. Les Grecs de l’Antiquité archaïque et classique lui appliquaient au contraire des couleurs qui visaient à rendre l’effet de la peau, par la peinture, mais aussi par d’autres procédés tels que la ganôsis, application d’une légère couche de cire chaude et d’huile blanche lustrées ensuite. Christina Ferando a travaillé quant à elle sur la pratique consistant, au XVIIIe siècle, à traiter à la cire les sculptures Images Re-vues, 13 | 2016 3 pour donner l’illusion de la carnation ; c’était le cas, par exemple, d’Antonio Canova sur ses œuvres. En raison des valeurs alors associées au marbre nu – dont le texte d’Adeline Grand-Clément met en évidence l’origine, à l’époque hellénistique, et la persistance jusqu’au XIXe siècle – ces pratiques de colorisation et de traitement des sculptures ont fait l’objet de critiques que Christina Ferando analyse dans son article : duperie, divertissement, dérangeante imitation de la vie. 3 Toujours à propos de coloration, c’est à celle des murs que s’est intéressé Arnaud Dubois en montrant, à partir d’un exemple récent, que les usages antiques de la polychromie en matière d’architecture sont restés vivaces, notamment via les travaux et les pratiques de grandes figures du XIXe siècle telles que Gottfried Semper, Owen Jones ou encore Jacques-Ignace Hittorf. On croise ce dernier dans les articles d’Arnaud Dubois et d’Adeline Grand-Clément : en tant que premier théoricien de la polychromie de l’architecture grec, Hittorf est l’instigateur des débats sur la polychromie dans l’architecture moderne, passeur entre les pratiques anciennes de colorisation des murs et l’architecture du XXe siècle. 4 En nous référant à Brandi, nous voulions également faire la part belle à des problématiques de restauration et de conservation des œuvres2. Nous sommes très heureux de publier dans le numéro « Supports » les résultats de la première phase d’une recherche en cours menée par Claire Bosc-Tiessé et Sigrid Mirabaud sur les icônes éthiopiennes médiévales parmi les plus anciennes conservées, au musée de l’Institute of Ethiopian Studies. L’analyse des matériaux, la décomposition des couches ont permis aux deux auteures d’ouvrir quelques pistes de réflexion sur les modalités de création des icônes éthiopiennes médiévales, dont on connaît peu de choses. 5 Enfin, Maddalena Canna, anthropologue, a répondu par la publication des résultats d’une enquête originale et passionnante sur la grisi siknis, une crise de transe hallucinatoire touchant par vagues la population du Nicaragua oriental et du Honduras. En demandant à des victimes de dessiner leurs visions, elle a fait apparaître un répertoire iconographique cohérent et relativement stable dans le temps alors même qu’il n’existe aucune transmission sur supports matériels, les représentations d’images liées à grisi siknis étant en général évitées en raison de la croyance en leur caractère pathogène. C’est là, précisément, l’originalité de cette recherche par rapport au thème du numéro. 6 Je tiens ici à remercier Noémie Etienne, Mellon Postdoctoral Fellow à l’Institute of Fine Arts de New York au moment de la préparation du numéro, qui a organisé, le 27 mars 2015, une journée d’étude sur le thème « Surfaces », et grâce à laquelle nous publions ici, sous forme d’article, la communication qu’y a proposée Christina Ferando. NOTES 1. Je fais ici référence à la Théorie de la restauration, traduction française de la Teoria del restauro, recueil constitué par les étudiants de Cesare Brandi à partir de ses écrits et de ses cours à Images Re-vues, 13 | 2016 4 l’Istituto Centrale del Restauro. Cesare Brandi, Théorie de la restauration (1963), trad. Monique Baccelli, Paris, Allia, 2011. 2. Prolongées par plusieurs invitations au séminaire organisé en 2017, à l’EHESS, à l’occasion de la sortie du numéro. Images Re-vues, 13 | 2016 5 The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando This paper was presented at the Institute of Fine Arts, New York University, as part of the symposium “Surfaces: Fifteenth – Nineteenth Centuries” on March 27, 2015. Many thanks to Noémie Étienne, organizer of the symposium, for inviting me to participate and reflect on the sculptural surface and to Laurent Vannini for the translation of this article into French. Images Re-vues, 13 | 2016 6 1 Sculpture—an art of mass, volume, weight, and density. Its very solidity distinguishes it from the art of painting and was one of the reasons painting was viewed as the superior medium by artists of the Renaissance. The paragone, or competition between the two arts, was rooted in Leonardo da Vinci’s comments, which have become something of a truism now. Painting was characterized as an intellectual craft, while sculpture was largely mechanical. Sculpting was a form of labor that generated sweat and fatigue, and the sculptor was doomed to be forever dirty, covered in marble chips and dust. Worse, his art was “not a science”, for “[t]he simple measurements of members and the nature of movements and poses alone are enough for such an artist, and so, sculpture ends by demonstrating to the eye only what is what.” Painting, on the other hand, was an art of illusion, for “by the power of science, demonstrates the grandest countrysides with distant horizons on one flat surface.”1 All this is to say, sculpture was criticized for appearing to be the thing itself and for being a medium that could be understood not just by sight, but by touch. 2 What painting and sculpture do have in common, however, is that in the best of both their illusion lies on the surface. Painting’s strength rests on its ability to create a fictional three-dimensional space on a two-dimensional plane. Sculpture’s illusionistic success, on the other hand—particularly sculpture of the early modern period— depends on the impression of malleability, of the transformation of marble into soft flesh. This effect was the result of the sculptor’s careful manipulation of the stone surface, his skill with the tools of his trade—dramatically visible, for instance, in the dimpled thigh of Gian-Lorenzo Bernini’s Proserpina (Fig. 1). Images Re-vues, 13 | 2016 7 Fig. 1 Gian-Lorenzo Bernini, Pluto and Prosperina (detail), 1621-22. Marble. Height 2.25 m. Galleria Borghese, Rome, Italy Image courtesy of the Columbia University Visual Resources Collection 3 A marble surface that appears to be yielding flesh, which then invites the viewer, in turn, to reach out and feel the stone beneath his fingers—this hallmark of success lasted well into the nineteenth century, and of the sculptors in the generations that followed Bernini, it was Antonio Canova who was hailed for his fine workmanship, what was known then as the “ultima mano” or “final touch” that he gave to the marble.
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