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Les Portraits Flaviens Dans Les Collections Du Musée Du Louvre Et Du Cabinet Des Médailles Marie Pierre Delanos

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Les Portraits Flaviens Dans Les Collections Du Musée Du Louvre Et Du Cabinet Des Médailles Marie Pierre Delanos Les portraits flaviens dans les collections du Musée du Louvre et du Cabinet des Médailles Marie Pierre Delanos To cite this version: Marie Pierre Delanos. Les portraits flaviens dans les collections du Musée du Louvre et du Cabinet des Médailles . Art et histoire de l’art. 2014. dumas-01546143 HAL Id: dumas-01546143 https://dumas.ccsd.cnrs.fr/dumas-01546143 Submitted on 23 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License ÉCOLE DU LOUVRE Marie Pierre DELANOS Les portraits flaviens dans les collections du Musée du Louvre et du Cabinet des Médailles Mémoire de recherche e e (2 année de 2 cycle) en histoire de l'art appliquée aux collections présenté sous la direction me de M Cécile COLONNA Septembre 2014 Le contenu de ce mémoire est publié sous la licence Creative Commons 1 CC BY NC ND 2 Table des matières Table des matières ............................................................................................................................................. 3 Avant-propos ..................................................................................................................................................... 5 Introduction ....................................................................................................................................................... 6 Le portrait : héritage ou innovation ? ....................................................................................................... 9 Les sources .............................................................................................................................................. 11 Les portraits masculins .................................................................................................................................... 21 Les portraits de Vespasien .............................................................................................................. 21 Présentation de l'empereur ...................................................................................................................... 21 Les portraits en numismatique ................................................................................................................ 23 Les portraits en ronde-bosse : les différents types .................................................................................. 25 La situation au Cabinet des Médailles .................................................................................................... 34 Comparaison entre les différents portraits .............................................................................................. 37 Les portraits de Titus ...................................................................................................................... 39 Présentation de l'empereur ...................................................................................................................... 39 Ses portraits en numismatique ................................................................................................................. 41 Les typologies des portraits sculptés ....................................................................................................... 42 Titus au Musée du Louvre ....................................................................................................................... 45 Un camée aux traits de Titus ................................................................................................................... 51 Comparaison des différents portraits de Titus ........................................................................................ 53 Les portraits de Domitien ............................................................................................................... 55 Présentation de l'empereur ...................................................................................................................... 55 Portraits numismatiques .......................................................................................................................... 57 Les portraits d’inconnus ................................................................................................................. 68 Les portraits Ma 4520 et Ma 4669 .......................................................................................................... 68 Un couple au Cabinet des Médailles ....................................................................................................... 72 3 Les portraits féminins ...................................................................................................................................... 75 Les portraits de Iulia Titi ................................................................................................................ 75 Sa grande présence en numismatique...................................................................................................... 76 Les différents types de portraits monétaires ............................................................................................ 77 Julie en trois dimensions ......................................................................................................................... 80 Sa grande présence en glyptique ............................................................................................................. 81 Les portraits de Domitia Longina .................................................................................................. 88 Les différents types de portraits ............................................................................................................... 89 Le portrait du Musée du Louvre .............................................................................................................. 92 Les portraits conservés au Cabinet des Médailles .................................................................................. 94 Premières conclusions ............................................................................................................................. 97 Les portraits d’inconnues ............................................................................................................. 101 Conclusion ..................................................................................................................................................... 110 Bibliographie ................................................................................................................................................. 112 4 Avant-propos Je tiens particulièrement à remercier Cécile Colonna, ma directrice de recherche. Elle m’a permis de traiter ce sujet qui me tenait à cœur. Elle m’a savamment aiguillée et dirigée par ses nombreux et précieux conseils. Ma reconnaissance va également aux professionnels qui ont pris le temps de me recevoir. Grâce à Daniel Roger et à Agnès Schérer, j’ai pu voir les œuvres sculptées des réserves du Musée du Louvre et avoir accès à leur dossier d’œuvre. Je remercie également Mathilde Avisseau-Broustet pour m’avoir confié durant une matinée les camées et intailles dont j’avais besoin. Mes derniers remerciements vont à mes proches. A un voisin autrichien, pour ses cours accélérés d’allemand. A une autre amie germanophone pour son aide à la traduction. Et à l’ami relecteur qui a peut-être ainsi trouvé sa voie. 5 Introduction L'arrivée des Flaviens au pouvoir Le 11 juin 68, Néron se donnait la mort. Par cet acte s’ouvrait officiellement une nouvelle période de guerre civile. Car depuis le début de l’année, la révolte grondait. Elle était menée d’un côté par Vindex en Gaule et par Galba en Espagne1. Reconnu empereur par les prétoriens puis le Sénat, Galba, vieux général, fit preuve de maladresses envers ses deux soutiens et envers le peuple. Aussi n’eut-il aucun recours pour faire face aux oppositions montantes. Vitellius, légat de Germanie inférieure, fut proclamé empereur par ses troupes en janvier 69. Le 10 janvier, comme en réponse, Galba adopta Pison pour lui succéder. Cependant, le 15 janvier, Othon, gouverneur de Lusitanie, était également acclamé empereur d’abord par le Sénat puis par les prétoriens2. Ces derniers ayant retiré entièrement leur soutien à Galba, le tuèrent ainsi que son successeur. Avec seulement neuf mois de pouvoir, la destitution de Galba signe le début de la valse des empereurs. Othon lui succéda donc, mais peu de temps : le 14 avril 69, il était en mauvaise posture mili- taire face aux troupes de Vitellius. Il se donna la mort. Les rênes du pouvoir échurent alors à Vitel- lius. Mais pendant ce temps, un complot s’organisait en Orient. Titus Flavius Vespasianus est nommé empereur par le préfet d’Egypte. Il rallie autour de lui les légions d’Egypte, de Judée, de Syrie et du Danube. Ce vieux général avait été envoyé par Néron pour mater la révolte des juifs. Laissant cette bataille à son fils Titus, Vespasien se lance à la conquête
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