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La Crucifixion

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Points de vue sur la crucifixion Valentine Robert La crucifixion comme iconographie Un emblème de la frontalité? Lucas Cranach l’Ancien, 1505 Alte Pinakothek, Munich Paul Véronèse, 1584 Musée du Louvre, Paris Peter Paul Rubens, 1621 Koninklijk Museum, Anvers Simon Vouet, 1622 Chiesa del Gesù, Gênes Tiepolo, c.1780 Collection particulière Pierre Paul Prud’hon, c.1822 Musée du Louvre, Paris Eugène Delacroix, Nikolaï Gay, 1893 Musée d’Orsay, Paris Nikolaï Gay, 1893 Musée d’Orsay, Paris Fred Holland Day, 1898 Siegfried Reinhardt, 1953 Whitney Museum of American Art, New York James Tissot, illustrations reprises à La Vie de Notre Seigneur Jésus-Christ, 1899 Saint Jean de la Croix, Esquisse, 1577 –dans l’état où Dali le découvre en 1951– 57 x 47 mm, conservé au monastère des Carmélites de l’Incarnation à Avila Salvador Dali, Le Christ de St Jean de la Croix, 1951 Dali, Assumpta corpscularia lapislazulina , 1952 Dali, Ascension, 1958 Dali, Corpus Hypercubus, 1954 Dali, Le Christ de Gala, 1978 Dali, Le Christ de Gala, 1978 Jim Shaw Christ in Dali Vision 1988 La crucifixion comme récit Au croisement des focalisations ? • La Crucifixion selon un témoin oculaire, témoignage d’origine essénienne • Ce que Jésus voyait du haut de la croix, Antonin-Dalmace de Sertillanges, 1930 • La douloureuse passion de notre Seigneur Jésus-Christ, d'après les méditations d’Anne-Catherine Emmerich, 1833 RomansRomans • Sie waren Zeitgenossen (Gertrud Fussenegger, 1983) Diesseits von Golgatha (Werner Koch, 1986) Jesus the Son of Man (Khalil Gibran, 1990) • Moi, Jésus (Gilbert Sinoué, 2007) La crucifixion au cinéma 0. Points de vue « imités » Cf. mon article « Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci » Disponible sur http://revel.unice.fr/cnarra I. Points de vue démultipliés (mais d’autant mieux guidés) La Passion du Christ (Mel Gibson, 2004) Extrait Passion of the Christ (Mel Gibson, 2004) Christ Pantocrator, 6e-7e siècle Christ Pantocrator, 1280 Mont Sinaï, Egypte Basilique sainte Sophie d’Istanbul Retable Mosaïque Saint Ezechiel (manuscrit 11e s.) Daniel (manuscrit 11e s.) Hildegard de Bingen (miniature c.1230.) Christ Pantocrator, 6e-7e siècle Christ Pantocrator, 1280 Mont Sinaï, Egypte Basilique sainte Sophie d’Istanbul Retable Mosaïque Bramantino Cristo resucitado c.1490 h/t (détail), Madrid Musée Thyssen-Bornemisza, Extrait Passion of the Christ (Mel Gibson, 2004) Mathias Grünewald, Retable d'Issenheim (La Crucifixion), 1515 Retable 330 x 590 cm, Colmar, Musée d'Unterlinden II. Esthétique du déplacement Tradition filmique allant de la fin des années 1920 jusqu’aux années 1960 Ben Hur (Fred Niblo, 1925) Ben Hur (Fred Niblo, 1925) The Great Commandment (Irving Pichel, 1939) Barabbas (Alf Sjöberg, 1953) The Robe (Henry Koster, 1953) Salome (William Dieterle, 1953) The Power of the Resurrection (Harold D. Schuster, 1958) La Espada y la Cruz (Carlo Ludovico Bragaglia, 1958) The Big Fisherman (Frank Borzage, 1958) Ben Hur (William Wyler, 1959) Give us Barabbas ! (George Schaefer, 1961) Barabbas (Richard Fleischer, 1961) Ponzio Pilato (Irving Rapper & Giampaolo Callegari, 1962) Le Christ dans la censure cinématographique anglaise 1913: Fondation du BBFC (British Board of Film Censors), présidé par George Redford - 2 règles: « No nudity and no personification of Christ » 1916: Nouveaux statuts du BBFC, présidé par T.P. O’Connor - 43 règles, dont la 43e : « No materialization of the conventional figure of Christ » 1926: Systématisation des critères du BBFC en véritable « code de censure » - 73 critères répartis suivant les genres de films, le premier étant: « The materialised figure of Christ » (catégorie « Religieux ») 1961: Le BBFC (avec John Trevelyan comme secrétaire général) supprime cette règle en tolérant la sortie de King of Kings de Nicholas Ray Ben Hur (Willliam Wyler, 1959) Ben Hur (Bill Kowalchuk, 2003) Barabbas (Richard Fleischer, 1962) The Robe (Henry Koster, 1953) III. « Ce que Jésus voyait » Expériences d’ocularisation interne Epîtres de Paul « Revêtez-vous du Seigneur Jésus Christ ! » (Romains 13, 14) « (…) le corps est en Christ. » (Colossiens 2, 17) « J’ai été crucifié avec Christ ; et si je vis ce n’est plus moi qui vis, c’est Christ qui vit en moi. » (Galates 2, 20) Discours de Jésus « Prends ta Croix et suis-moi » (Marc 10, 21 -version Darby) rejoint Matth. 10, 38 ; 16, 24 ; Marc 8, 34 ; Luc 9, 23 ; 14, 27) The Cross (Lance Tracy, 2001) Walk in the steps of Jesus, feel his crucifixion, witnessing it literally through his eyes ! […] Bear the sins of the world. And then die. Three days later, life slowly flow back into your body and you rise from the dead! […] Strap into this spiritual, emotional and physique experience. III. Au-delà de la caméra subjective Les profondeurs psychologiques de Jésus Extrait The Last Temptation of Christ (Martin Scorsese, 1988).
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