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La Nature De Toute Technè Est De S'appliquer À La Genèse D'une Numéro 36 La nature de toute technè est 2012 de s’appliquer à la genèse d’une œuvre, Matière et couleur d’en rechercher la technologie et la théorie parmi les choses réalisables, et d’en trouver le principe La science au service de l’histoire de l’art dans la personne qui la fait naître Terres cuites de la Renaissance et des civilisations et non dans l’œuvre elle-même. Aristote. Éthique à Nicomaque (Livre VI, chapitre IV, 4) Centre de recherche et de restauration des musées de France Prix : 25 A ISSN 1254-7867 ISBN 978-2-7118-5949-8 LT 00 5949 Terres cuites de la Renaissance Numéro 36, 2012 Matière et couleur ccouv_n_36.inddouv_n_36.indd 1 112/11/122/11/12 116:116:11 Centre de recherche et de restauration des musées de France Numéros épuisés Le Centre de recherche et de restauration des musées de Numéro 17, 2003 France met en œuvre la politique du Service des musées Science et conservation de France en matière de recherche, de conservation préventive et de restauration des collections placées TECHNÈ a pour objet de rendre compte Numéro 1, 1994 Numéro 18, 2003 Le métal La science au service de l’histoire de l’art sous son autorité. Il rassemble et diffuse notamment une de l’application des sciences exactes Poussin et la peinture française et des civilisations à l’étude du patrimoine cul tu rel : au XVIIe siècle documentation sur les matériaux, les techniques et les Numéro 19, 2004 méthodes de conservation et de restauration, et contri- examens et analyses sont conduits en Science et conservation vue de sa conservation et de sa res- Numéro 2, 1995 Conseil scientifi que Directrice de la publication bue au contrôle technique de l’État dans ce domaine, tauration, mais aussi dans une plus Autoportrait d’un laboratoire Ségolène Bergeon-Langle Marie Lavandier en application de la loi sur les musées de France, avec le Numéro 23, 2006 large perspective d’enrichissement Maurice Bernard soutien de la Mission recherche et technologie du minis- Numéro 3, 1996 Science et conservation Rédacteur en chef de l’histoire. Sur ces travaux, cher- Musée du quai Branly Michel Blay tère de la Culture (MRT). Arts préhistoriques Brigitte Bourgeois cheurs, conservateurs, restaurateurs, Annie Caubet Situé sous les jardins des Tuileries, le département historiens, philosophes, artistes posent Numéro 4, 1996 Numéro 27-28, 2008 Jean-Pierre Changeux Secrétariat de rédaction de la Recherche effectue sur les œuvres d’art et les objets des regards différents : allier sciences La couleur et ses pigments La restauration des œuvres d’art. Antoine Compagnon et coordination éditoriale culturels les examens et analyses préalables à leur acquisi- exactes et sciences humaines, dans une Éléments d’une histoire oubliée, e e Jean-Pierre Cuzin Marie Burdin tion, à leur conservation et à leur restauration. démarche véritablement interdiscipli- Numéro 5, 1997 XVIII -XIX siècles Henri Loyrette Pascaline Paul Les travaux de restauration suivis par le département naire, est indispen sable à la constitu- Vers une science de l’héritage tion d’un savoir humaniste. culturel : quelques exemples Henry de Lumley Conservation-Restauration, à la demande des respon- Coordination rédactionnelle de laboratoires étrangers Jean-Pierre Mohen sables scientifi ques des collections des musées de France, Marc Bormand Michel Pastoureau sont effectués dans les ateliers de la Petite Écurie du Roy TECHNÈ s’adresse en priorité à la com- Numéro 6, 1997 Anne Bouquillon Jean-Claude Pecker à Versailles et dans les ateliers du pavillon de Flore à munauté des scientifi ques, conserva- Verres - Émaux - Glaçures Vincent Pomarède Édition Paris, en étroite relation avec le Laboratoire. Certaines teurs, restaurateurs, archéologues, Numéro 7, 1998 Gérard Régnier Rmn-Grand Palais interventions se déroulent sur place, dans les musées, archéomètres, en France et à l’étran- ger, mais aussi à tous ceux qui se pas- Art et chimie au Louvre ainsi que dans vingt et un ateliers spécialisés, implantés Fabrication sionnent pour l’art et/ou la science et Comité de rédaction en régions et relevant des collectivités territoriales. Les Numéro 8, 1998 pour leur rapprochement, ainsi qu’à Isabelle Loric Matériaux et techniques Anne Bouquillon recherches et les actions de conservation préventive se un public élargi : la fréquentation Rmn-Grand Palais de l’art au XXe siècle Brigitte Bourgeois développent sur l’ensemble du réseau national. croissante des musées et des exposi- Jean-Louis Boutaine Conception graphique et réalisation Le C2RMF développe également des techniques, des tions engage ce public à savoir « ce qui Numéro 9-10, 1999 Claude Coupry HDL Design-Gilles Huot études et des recherches, en collaboration avec ses parte- se cache derrière » les œuvres et les Couleur et perception Sophie Guillot de Suduiraut naires au niveau national et international ; leurs résultats objets. Diffuser les travaux de labora- Lecture et correction Jean Habert contribuent à faire avancer l’histoire de l’art, l’histoire toire et de restauration par la publica- Numéro 11, 2000 Edire Marie Lavandier des techniques et l’histoire des sociétés. tion ou l’exposition peut contribuer Cultures du monde à satisfaire cette légitime curiosité de Élisabeth Martin Traductions La concertation et le dialogue instaurés au sein du la genèse des objets, de leur circula- Numéro 12, 2000 Roland May Jeanne Bouniort Centre entre professionnels issus de diverses disciplines tion, de l’origine des matériaux qui les L’art et l’électricité Michel Menu Pamela Hargreaves comme avec ceux des autres domaines de la recherche, composent, de leur vieillissement dans Numéro 13-14, 2001 Bruno Mottin Renaud Temperini contribuent à une meilleure connaissance du patrimoine leurs différents contextes. Maria-Anne Privat-Savigny culturel et en assurent une préservation à long terme. Découvrir - Transmettre Béatrice Sarrazin Numéro 15, 2002 Nathalie Volle © Centre de recherche Dans ce but, TECHNÈ traite d’études La vision des œuvres William Withney et de restauration des musées signifi catives, de recherches approfon- de France dies, de points de vue liés à l’histoire de Numéro 16, 2002 www.c2rmf.fr l’art et des civilisations, des méthodes Les objets d’art : scientifi ques mises en œuvre, de l’op- de l’analyse à la conservation timisation des techniques. Chaque Rédaction Abonnements année, la publication comprend deux Centre de recherche COM & COM numéros portant sur un thème qu’une et de restauration des musées 20, avenue Édouard-Herriot exposition ou un événement rend de France Bâtiment Copernic d’actualité. Palais du Louvre • Porte des Lions 92350 Le Plessis-Robinson Des nouvelles brèves s’y ajoutent 14, quai François-Mitterrand Tél é p ho ne 01 4 0 9 4 2 2 2 2 selon les cas, sur les programmes de 75001 Paris (France) Tél é c o p i e 01 4 0 9 4 2 2 3 2 recherche ou les colloques. Les articles peuvent être communiqués par les chercheurs, les restaurateurs ou les ISSN 1254-7867 Contact Achevé d’imprimer sur les presses conservateurs français ou étrangers. ISBN : 978-2-7118-5949-8 Brigitte Bourgeois de l’imprimerie Chirat. 42540 Saint-Just-la-Pendue LT 00 5949 [email protected] Dépôt légal : novembre 2012 ccouv_n_36.inddouv_n_36.indd 2 112/11/122/11/12 116:116:11 En couverture Au centre Donatello, La Vierge et l’Enfant (détail), Coupe stratigraphique provenant Paris, musée du Louvre, département du Retable de la chapelle de la Barre des Sculptures © 2012 Musée du Louvre, de Pierre Biardeau (Angers) Dist. RMN-GP / Thierry Ollivier © C2RMF / Nathalie Balcar et Sandrine Pagès-Camagna Terres cuites de la Renaissance : matière et couleur Journées d’études L’éclat du sombre ? Terres cuites façon bronze de la tenues à l’Auditorium du musée du Louvre et Renaissance italienne 26 à l’Auditorium du C2RMF les 26 et 27 octobre 2011, The sheen of the dark? Italian Renaissance sous la direction d’Anne Bouquillon et de Marc Bormand imitation bronze terracottas Philippe Sénéchal Éditorial 3 Bozzetti und Pseudo- Bozzetti aus Terrakotta in der Editorial Berliner Skulpturensammlung 34 Marie Lavandier Bozzetti et pseudo- bozzetti en terre cuite dans la collection des Sculptures des Musées de Berlin Préface 5 Terracotta bozzetti and pseudo- bozzetti in the Foreword Sculpture Collection, Museums of Berlin Henri Loyrette Volker Krahn Introduction 6 Introduction II · D ONAT EL LO Marc Bormand, Anne Bouquillon Autour de quelques exemples de reliefs de Donatello sur le thème de la Vierge et l'Enfant 43 I · « S CULPTER E T PEINDR E » : Focus on examples of Donatello’s reliefs on L E S MÉTAMORPHOSES DE L A T E R R E the theme of the Madonna and Child Marc Bormand Scultura dipinta o pittura a rilievo? Rifl essioni sulla The Kress Madonna : Revelations of an Extraordinary policromia nel Quattrocento fi orentino 9 Sculpture 47 Sculpture peinte ou peinture en relief ? La Madone Kress . Les révélations Réfl exions sur la polychromie au Quattrocento d’une sculpture extraordinaire fl orentin Simona Cristanetti Painted sculpture or relief painting? Thoughts on polychromy in the Florentine Quattrocento La Vierge adorant l'Enfant de Donatello, dite Madone Giancarlo Gentilini Piot . Étude et restauration 54 Donatello’s Madonna and Child , known as the “Colorite de boni colori et ornate secundo il Piot Madonna . Study and restoration naturale”. La terracotta policroma: simulare, imitare Jennifer Vatelot la natura 18 « Colorées en bonnes couleurs et ornées d'après nature ». La terre cuite polychromée : simuler et imiter la nature “Painted in the right colours and adorned from life.” Polychrome terracotta: simulating
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