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La Revue Des Musées D'art Et D'histoire De Genève

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La Revue Des Musées D'art Et D'histoire De Genève Genava La revue des Musées d’art et d’histoire de Genève 2017 n. s. 65 Genava Genava La revue des Musées d’art et d’histoire de Genève 2017 n. s. 65 LES MUSÉES D’ART ET D’HISTOIRE Un réseau, 5 sites Musée d’art et d’histoire Rue Charles-Galland 2 • 1206 Genève • T +41 (0)22 418 26 00 Collections permanentes et expositions temporaires Musée Rath Place Neuve • 1204 Genève • T +41 (0)22 418 33 40 Expositions temporaires Maison Tavel Rue du Puits-Saint-Pierre 6 • 1204 Genève • T +41 (0)22 418 37 00 Collections permanentes et expositions temporaires Cabinet d’arts graphiques Promenade du Pin 5 • 1204 Genève • T +41 (0)22 418 27 70 Expositions temporaires Bibliothèque d’art et d’archéologie Promenade du Pin 5 • 1204 Genève • T +41 (0)22 418 27 00 Salle de lecture, médiathèque, expositions temporaires [email protected] http://institutions.ville-geneve.ch/fr/mah/ 6 Sommaire 7 Éditorial 6 7 I ARTICLES ET ÉTUDES ARCHÉOLOGIE À propos d’un fragment de cercueil égyptien: les errances de deux inconnues (ou presque) Jean-Luc Chappaz 9 Osiris végétant : de l’art à l’étude Katia Novoa 19 Osiris végétant : l’étude matérielle Bernadette Rey-Bellet 27 Patrimoine en danger. Trafic illicite de biens culturels à Genève Béatrice Blandin 37 ARTS APPLIQUÉS Le mobilier avant-gardiste de Ferdinand Hodler Pierre Boesiger 53 BEAUX-ARTS Leonor Fini : Nu/Portrait de Nico (1942) 65 La Vague de Carlos Schwabe : une rupture iconographique Ingrid Beytrison Comina 83 L’esprit de Hodler dans la peinture genevoise Alexandre Fiette, Marie Gaitzsch, Lucinda Pasche 91 Fenêtre sur cadre. Regard sur les encadrements des tableaux de Ferdinand Hodler au Musée d’art et d’histoire de Genève Valentine Greco 107 131 II RAPPORT D’ACTIVITÉ 2017 COLLECTIONS Archéologie 133 Beaux-arts 142 Cabinet d’arts graphiques 145 Arts appliqués 148 Horlogerie 153 Bibliothèque d’art et d’archéologie 159 Conservation-restauration 162 Inventaire et documentation scientifique 165 Prêts 167 OFFRE CULTURELLE Médiation culturelle 171 Communication 175 Expositions 177 Publications, colloques et conférences 179 VIE DE L’INSTITUTION Organisation 187 Bâtiments et logistique 190 Société des Amis du Musée d’art et d’histoire 191 Association Hellas et Roma 192 Mécènes et partenariats 193 Donateurs 195 ANNEXES Éditorial LE TOME 65 DE GENAVA S’INSCRIT DANS LA CONTINUITÉ ÉDITORIALE DE LA REVUE. Certes, le support a changé, mais la finalité demeure : faire connaître l’action du musée et ses collections. Cette nouvelle livraison se compose de deux grandes parties, d’une part des études consacrées à des objets et œuvres d’art conservés dans nos collections, d’autre part le rapport annuel, illustration de la diversité et de la richesse des activités des équipes du Musée d’art et d’histoire. Les recherches menées au musée portent tant sur des œuvres anciennement acquises, redécouvertes à la faveur d’une expo- sition temporaire, que sur des objets récemment entrés dans nos collections. Les manifestations organisées tout au long de cette année autour du centenaire de la disparition de Ferdinand Hodler en sont la démonstration. Pas moins de quatre contributions de la présente édition sont l’aboutissement d’études préparatoires aux expositions liées à cette célébration. Tous les articles de cette livraison ont été écrits par des col- laborateurs et collaboratrices du MAH. Ils sont le reflet du tra- vail quotidien des personnels scientifiques et techniques, sous la conduite des conservateurs. Je tiens à leur exprimer à tous ma gratitude pour l’engagement sans faille dont ils font preuve. Une iconographie de qualité, et abondante, complète uti- lement l’information. Elle résulte en grande partie du remar- quable travail des deux photographes du musée, Bettina Jacot-Descombes et Flora Bevilacqua, que je remercie très sincèrement. La coordination et la production de cette édition ont été assu- rées par Catherine Terzaghi – ce long travail de suivi des auteurs, de relectures, de recherches iconographiques est la condition de la réussite. Un grand merci à elle pour ce beau résultat. Jean-Yves Marin Directeur des Musées d’art et d’histoire Novembre 2018 I ARTICLES ET ÉTUDEStitre courant 9 ARCHÉOLOGIE ARTS APPLIQUÉS BEAUX-ARTS 10 I ARTICLES ET ÉTUDES ACHÉOLOGIE ARTS APPLIQUÉS BEAUX-ARTS 11 À propos d’un fragment de cercueil égyptien : les errances de deux inconnues (ou presque) ATTRIBUABLE À LA XXIe DYNASTIE (Xe SIÈCLE AV. J.-C.), CE FRAGMENT DE JEAN-LUC CHAPPAZ CERCUEIL APPARTENAIT À UNE FEMME, MEMBRE DU CLERGÉ D’AMON DE THÈBES, DONT LE NOM N’EST QUE PARTIELLEMENT CONSERVÉ. IL COMPORTE DEUX SCÈNES ESSENTIELLES DE LA MYTHOLOGIE PHARAONIQUE : LE TRADITIONNEL JUGEMENT DES MORTS (DONT LA PESÉE DU CŒUR) ET UNE REPRÉSENTATION DU COSMOS, OÙ LES DIVINITÉS SE CONFONDENT AVEC LA TERRE, LE CIEL ET LA COLONNE 1 Isis et Nephthys. Détail de la fig. 2. D’AIR QUI LES SÉPARE. 12 I ARTICLES ET ÉTUDES écemment entré à l’inventaire du Musée d’art et d’his- peints manquent par endroits, on en déduit que le décor toire, ce fragment de cercueil (inv. A 2016-14) est un legs se poursuivait sur la tranche de la planche du fond. Deux Rde Jacqueline Porret-Forel (1916-2014), éminente spécia- mortaises sont également creusées transversalement sur liste et active promotrice de l’art brut. Aux dires de la donatrice, la droite pour y emboîter la partie de la cuve entourant la il aurait jadis fait partie des collections rassemblées par François tête ; une épaisse couche de stuc les recouvre partiellement Tronchin (1704-1798) au XVIIIe siècle, information qui n’a pas et servait à colmater la jointure. La décoration s’étend sur encore pu être corroborée. l’extérieur de la cuve, alors que l’intérieur est resté brut. La partie gauche est très mal conservée et le bois est percé de nombreuses galeries creusées par des insectes. La peinture Fabrication a subi quelques restaurations, certaines peu heureuses ; un vernis fut posé à une date non précisée et recouvre Ce fragment correspond au côté gauche de la cuve d’un cer- aujourd’hui les pigments antiques. cueil anthropomorphe. La forme épouse les contours du cou, de l’épaule et du flanc. Une jointure est observable au niveau du coude, où la pièce a été consolidée et restaurée dans les La défunte temps modernes. Dans la partie supérieure, un chanfrein a été creusé dans Ce cercueil fut préparé pour une femme dont la titula- l’épaisseur du bois, pour enserrer le couvercle. Deux mortaises ture et le nom étaient mentionnés à trois reprises sur le rectangulaires ont été aménagées au niveau du cou et du coude fragment conservé. Elle est présentée comme une « maî- pour y loger les tenons du couvercle. De petites chevilles cir- tresse de maison et chanteuse d’Amon » à deux occasions ; culaires, perpendiculaires aux mortaises, sont conservées sur une variante la qualifie de « chanteuse d’Amon-Rê-sonther le haut du décor : elles servaient à bloquer le couvercle en ver- [= Amon-Rê roi des dieux] ». Ses fonctions impliquent qu’elle rouillant les tenons dans leur logement (voir encadré, p. 12). était mariée et appartenait à la classe aisée de la population. La partie inférieure de la pièce présente les restes de che- Son nom a été volontairement gratté. Dans deux occur- villes cylindriques qui ont permis de fixer le fond sur lequel rences, le début est toutefois parfaitement lisible : Tanet-... s’appuyait cette paroi. Comme les pieds des personnages (écrit Tchenet-...). La suite est plus délicate à établir, elle À propos d’un fragment de cercueil égyptien : les errances de deux inconnues (ou presque) 13 2 Fragment de cercueil. Thèbes (?), comprend un signe horizontal allongé rouge, sans doute Troisième Période intermédiaire, un bras (armé ?). Une lecture Tanetnakht (?) (= celle-du-vic- e e XXI dynastie, X s. av. J.-C. Bois polychrome, torieux (?)) peut être envisagée1. Entre ce qui est interprété long. max. 109 cm, haut. 24 / 26,5 cm, ép. 4,5 / comme un bras et l’épithète « juste de voix » (écrite par l’hié- 5,5 cm. MAH, inv. A 2016-14 ; legs Jacqueline Porret-Forel ; anc. coll. François Tronchin (?). roglyphe des trois fleurs) qui qualifie la défunte et souhaite son triomphe devant le tribunal d’Osiris, il y a un espace d’en- viron un cadratin et demi qui peut correspondre à la notation de compléments phonétiques et d’un déterminatif, mais qui pourrait aussi convenir pour un élément supplémentaire de l’anthroponyme (Ta-net-nakht-…). Il est toujours difficile d’expliquer la raison de la dispa- rition du nom du commanditaire d’un trousseau funéraire, d’autant plus qu’en Égypte ancienne le nom d’un individu est une composante essentielle de sa personnalité et parti- cipe activement à sa renaissance dans l’au-delà. Plus qu’une sanction (tels les « criminels débaptisés » attestés dans des papyrus judiciaires) ou la conséquence d’une querelle familiale, il faut peut-être comprendre cet acte comme un premier pas vers la réattribution du cercueil préparé pour cette dame2. Le Musée d’art et d’histoire en expose un cas patent avec le cercueil intérieur, typiquement masculin, du prêtre d’Amon Chedkhonsou, transformé quelques décen- nies plus tard en un cercueil féminin pour accueillir la momie de la dame Boutharkhonsou (inv. 7363 et 7363bis)3, qui dis- posait par ailleurs d’un cercueil extérieur originellement fabriqué pour elle seule4. 14 I ARTICLES ET ÉTUDES Examens scientifiques du fragment de cercueil Les examens scientifiques exécutés au Les pigments sont assez traditionnels : MAH sur le fragment de cercueil A 2016-14 du bleu d’Égypte7, ou silicate de cuivre ont été réalisés à l’aide d’un spectromètre (CaCuSi4O10, cuprorivaïte), une terre riche de fluorescence de rayons X5 et d’un spec- en fer (hématite) pour la couleur rouge tromètre infrarouge à transformée de Fou- et du vert contenant du cuivre et de la si- rier (FTIR)6.
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