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Robert Campin Et Roger De Le Pasture

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Robert Campin Et Roger De Le Pasture Robert Campin et Roger de le Pasture Une technique nouvelle. Roger de le Pasture­ une faible proportion de poudre de couleur van der Weyden, comme Jean van Eyck, son pour une grande quantité de liant. Les aîné, a joui d'une réputation internationale couleurs ne sont pas mélangées : à une plage de exceptionnelle. L'activité connue de Jean van couleur saturée on ne superpose que la même Eyck va de 1422 à 1441, celle de Roger de le couleur, diluée. L'examen au microscope de Pasture-van der Weyden de 1435 à 1464; la lames minces prélevées dans la couche pictura­ renommée de ces deux peintres s'est perpétuée le a révélé parfois la présence d'une troisième longtemps après leur mort: elle est due sans couche, plus diluée encore. La lumière traverse doute à leur génie, mais aussi, pour une part, les couches supérieures translucides et se au fait que leurs œuvres ont révélé au monde réverbère sur le fond opaque de couleurs une qualité, une beauté picturale inconnue saturées ou, en certains endroits, sur le fond jusqu'alors et qui, après eux, restera l'apanage blanc de craie et de colle: cette réverbération de la peinture du xve siècle aux anciens Pays­ produit l'effet de profondeur et d'éclat, la Bas. somptuosité qui caractérise les œuvres de nos Cette qualité est liée à la découverte de peintres au xve siècle. Une telle technique procédés techniques nouveaux. Les analyses devait inciter les artistes à rendre les plus physico-chimiques d'un certain nombre de subtiles nuances. Mais elle impose un long tableaux, réalisées notamment à l'initiative de travail et une application qui excluent Paul Coremans par une équipe de restaura­ l'improvisation. Elle exige une formation très teurs, de physiciens, de chimistes et de poussée sur le plan du dessin et de la photographes spécialisés, (constituant les composition. Il est normal que cette technique départements de l'Institut royal du Patrimoine ait donné naissance à un art de caractère artistique à Bruxelles) ont établi que la contemplatif et d'une particulière intériorité. technique nouvelle fut, d'une part, la substitu­ Les règlements très stricts de l'apprentissage tion aux liants en usage au XIVe siècle (l'eau, du métier dans le système corporatif ont été certaines colles ou l'œuf) d'un liant translucide favorables à une telle formation. Et la longue composé en majeure partie d'huile siccative durée du séjour de l'élève chez le maître a sans qui devient en séchant d'une exceptionnelle doute eu pour effet la forte empreinte que ce dureté, et, d'autre part, l'application en dernier a pu laisser sur toute une génération de plusieurs couches superposées de la couleur jeunes artistes comme on le constate à cette faite au moyen de ce liant. Sur le support (un époque dans nos régions. panneau de chêne) recouvert d'une prépara­ tion de craie et de colle destinée à le rendre Jean van Eyck. Roger de le Pasture eut une étanche et lisse, le peintre applique une influence plus profonde et plus durable que première couche de couleurs très saturées Jean van Eyck, influence qui se prolongea obtenues en utilisant peu de liant pour dans tout le XVIe siècle. Jean n'a probable­ enfermer et fixer une grande quantité de ment pas eu le loisir de former des élèves poudre de couleur. Cette poudre est faite de pendant une bonne partie de sa carrière fins cristaux de matière minérale. La deuxième marquée par plusieurs changements de rési­ couche est appliquée après séchage de la dence (Liège(?), La Haye, Lille et Bruges). Ce première; elle est très diluée et contient donc n'est qu'à la fin de sa vie, en effet, qu'il fait 405 ROGER DE LE PASTURE, PIETÀ. Bruxelles, Musées Royaux des Beaux Arts. ( Photo A.C.L. ) . un séjour prolongé - près de dix ans - dans van Eyck et celui de Roger: 'Le style de van une même ville, à Bruges. Roger, lui, fait une Eyck est statique, spatial et pictural, celui de longue carrière (près de trente ans) à Bruxelles, Roger dynamique et linéaire. .. van Eyck ville capitale. D'autre part, l'art de van Eyck traduit l'existence pure, hors de toute action était plus difficile à codifier et à imiter, il ne physique ou émotive ... il observe et exprime les proposait pas de modèles, pas de formes charmes du monde visible ... il observe des réutilisables, tandis que les imitateurs de choses qu'aucun peintre n'avait jamais aper­ Roger trouvaient dans ses œuvres tout un çues. Le monde de Roger est physiquement répertoire de formes et de compositions, plus dépouillé et spirituellement plus riche que d'expressions et de sentiments. M.-J. Fried­ celui de van Eyck ... Roger ressent et exprime laender fait observer, avec humour, que l'on des émotions et des sensations ... sa manière de pourrait croire que la race des chiens s'est composer est plus expressive que descriptive ... éteinte aux Pays-Bas après Roger parce que il a introduit le rythme, mouvement continu, et tous les peintres après lui se bornent à il confère aux formes une qualité linéaire qui reproduire ceux qu'il avait peints. n'enlève rien à leur valeur lumineuse.' (Early Erwin Panofsky a exprimé clairement les Netherlandish Painting, 1953, pp. 248-250). différences fondamentales entre le génie de 406 ROGER DE LE PASTURE, PORTRAIT DE JEUNE FEMME. Londres, National Gallery . (Photo A.C.L.) . ROGER DE LE PASTURE, L'APPARITION DU CHRIST À LA VIERGE. New York , Metro­ politan Museum. ( Photo A.C.L. ). JACQUES DARET, LA VISI­ TATION. Berlin Dahlem , Staal­ liche Museen. ( Photo A.C.L.) . Un problème d'identification. La technique signés et datés de 1432 à 1439 de Jean van Eyck nouvelle est utilisée en 1432 de façon magistra­ et sans doute aussi dans ses œuvres antérieu­ le dàns le polyptyque de l'Adoration de res. Elle est utilisée par Roger à Bruxelles de l'Agneau d'Hubert et de Jean van Eyck: c'est 1435 à 1464 et il l'a enseignée à de nombreux le premier tableau daté et authentifié de façon élèves pendant cette même période. certaine dans lequel on la trouve. La même Or, on constate qu'avant 1432, à Tournai, elle technique caractérise la dizaine de tableaux était déjà pratiquée et enseignée, au moins 408 dans l'atelier de Robert Campin. Il est vrai de 'Maître de Flémalle'. qu'on ne connaît actuellement aucun tableau qu'on puisse attribuer à cet artiste sur la foi de Le Maître de Flémalle. Les œuvres de ce documents d'archives, d'une signature, d'une maître sont elles-mêmes étroitement apparen­ inscription, ou de tout autre témoignage tées à celles de Roger de le Pasture mais, à en même tardif. Mais on possède un témoin juger par leur style, elles paraissent dater d'une indirect de sa manière: c'est une œuvre d'au­ époque antérieure à celle de l'activité connue thentification certaine qu'un de ses élèves, de Roger à Bruxelles. L'une d'elles, le Portrait le Tournaisien Jacques Daret, a peinte immé­ de Robert de Masmines, doit remonter avant diatement après avoir terminé son apprentis­ 1430, année de la mort de ce seigneur. sage chez Campin. On a fait remarquer que le registre de la corporation des peintres de Tournai mention­ Jacques Daret. On sait, en effet, que Jacques ne l'apprentissage de Roger dans l'atelier de Daret entra vers l'âge de quinze ans dans Robert Campin de 1427 à 1432, soit en même l'atelier de Robert Campin, qu'il s'y inscrivit temps que Jacques Daret. De tous ces faits, on officiellement comme apprenti une dizaine a très logiquement déduit que les œuvres d'années plus tard, le 12 avril 1428, et qu'il groupées sous le nom de 'Maître de Flémalle' obtint la maîtrise le 18 octobre 1432. Peu étaient probablement les œuvres du maître après, il reçut la commande d'un retable dont commun, Robert Campin. De nombreux il devait assumer la polychromie et pour le­ historiens d'art se sont ralliés à l'identifica­ quel il devait peindre les volets ainsi que tion de Flémalle avec Campin qui satisfait l'antependium de l'autel sur lequel le retable la raison en justifiant les emprunts Daret­ serait placé; il devait aussi se charger de la Flémalle et Daret-Roger de même que la peinture des rideaux qui, à l'époque, proté­ parenté marquée Flémalle-Roger. geaient généralement les œuvres de ce genre contre le soleil et la poussière. Le retable était Flémalle, personnage de légende? Plusieurs destiné à l'abbaye de Saint-Vaast à Arras. Le historiens d'art refusent l'identification de Journal de la Paix d'Arras, rédigé en 1435, Flémalle et Campin: ils estiment que les relate que les diplomates venus négocier le œuvres dites du Maître de Flémalle ne peuvent traité d'Arras en juillet 1435 avaient admiré le être d'une autre main que de celle de Roger. Ils retable sur l'autel de la chapelle de la Vierge. supposent que Roger, que l'on sait être né en L'autel et son retable ont disparu mais les 1399 ou 1400, à Tournai, aurait acquis la volets, au nombre de quatre, existent encore, maîtrise vers 1420-1425 et qu'il aurait l'un au Petit Palais à Paris, l'autre dans la commencé sa carrière déjà une dizaine collection Rohoncz à Lugano, et les deux d'années avant la date de son installation autres aux Staatliche Museen à Berlin. Jacque­ connue à Bruxelles, en 1435. Au cours de ces line Folie a formellement établi l'identification dix ans, Roger aurait peint les œuvres de ces volets.
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