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LE CERNUSCHI, UN BEL ENFANT D'asie Pia Camilla Copper

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LE CERNUSCHI, UN BEL ENFANT D'asie Pia Camilla Copper Document généré le 27 sept. 2021 01:29 Vie des arts Le Cernuschi, un bel enfant d’Asie Pia Camilla Copper Volume 50, numéro 202, printemps 2006 URI : https://id.erudit.org/iderudit/58818ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Copper, P. C. (2006). Le Cernuschi, un bel enfant d’Asie. Vie des arts, 50(202), 56–57. Tous droits réservés © La Société La Vie des Arts, 2006 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ LETTRE DE PA R I S LE CERNUSCHI, UN BEL ENFANT D'ASIE Pia Camilla Copper 8 PEU DE GENS IMAGINENT QU'À LA LISIÈRE DU PARC MONCEAU, DANS LE xvii ARRONDISSEMENT DE PARIS, DEMEURE UN DES PLUS BEAUX HOTELS PARTICULIERS ET MUSÉES ASIATIQUES DE LA CAPITALE : LE MUSÉE CERNUSCHI. Depuis le mois de juin dernier expositions temporaires comme en un des «libérateurs» de Milan du troupes versaillaises en y laissant et après une rénovation de 7,2 mil­ témoigne, dès cette année, l'expo­ joug prussien en 1849. C'est alors presque sa vie. Cet épisode tragique lions d'euros, le musée est devenu sition de peintures erotiques, qu'il achète le journal républicain lui vaut le plaisir de voir des nou­ un écrin lumineux et spacieux février 2006, sujet qui n'a jamais parnassien, « Le Siècle ». Mais la brève veaux horizons et d'acquérir, peu mettant en valeur une collection été traité dans une institution et sanglante Commune de 1870 et à peu, une des plus belles collec­ de plus de douze mille objets publique en France. l'exécution de Gustave Chaudet, tions d'art asiatique du XIX1' siècle. provenant de la Chine et du Japon. son meilleur ami et collaborateur, Bien avant les grands archéo­ Elle est la cinquième plus grande maire adjoint du IX1' arrondisse­ logues de la Sérinde, tels Sir Aurel collection en France. CERNUSCHI, ment, la « Nouvelle Athènes » Stein, Sven Hedin Paul Pelliot M. Gilles Béguin, son nouveau FINANCIER ET ESTHÈTE (quartier bohème de Bizet, de Géri- ou bien Albert von Le Coq, fon­ directeur, se réjouit « des espaces aug­ Le Cernuschi, c'est d'abord Henri cault, de George Sand et d'Alfred dateurs des grandes collections mentés de 30 % et d'une organisa­ Cernuschi (1821-1896). D'origine de Musset) le dégoûte de la vie européennes, il décide de partir en tion plus rationnelle des exposi­ italienne, il est millionnaire (deux publique et l'incite à la fuite et à Asie en 1871. Il prend comme com­ tions ». Il promet aussi une nouvelle millions de Francs Or de l'époque). l'exotisme. D'après Flaubert, Cer­ pagnon de route Théodore Duret impulsion en ce qui a trait aux Il s'exila à Paris après avoir été nuschi tente de sauver son ami des (1838-1927) de dix-sept ans son cadet. 56 VIE DES ARTS N° 202 LETTRE DE PARIS Duret, grand ami de Gustave Mythe et Réalité», Pierre Beucler Vient après la salle des Han, Tous ces messieurs «au grand Courbet et des Impressionnistes, et Jean-Christophe Poggioli, ont dé­ la plus belle et la plus vaste de cet nez» sont éclipsés par la beauté comme Edouard Manet dont il cloisonné l'espace et l'ont rendu ensemble architectural. Ce sont sans pareille d'un groupe de huit rédige la biographie, est un des pre­ à la lumière naturelle. d'abord des stèles funéraires de la cavalières-musiciennes, typique­ miers défenseurs français de l'art Non seulement ils ont rajouté au grande époque Han (206 à 220 ap. ment Han, aux joues rondes et aux japonais. Amoureux des estampes et musée plus de mille mètres carrés J.-C), avec des scènes de chasse, de nattes un peu garçonnes, jouant des laques, motifs retrouvés autant (une salle de conférence, un cabi­ récolte, de guerre et de dragons le dizi (flûte), la harpe, le yaogu dans les toiles de Morrissot que dans net d'art graphique avec une biblio­ virevoltants, disposés comme dans (tambour-sablier) et autres instru­ celles de Renoir, il n'a pas de mal à thèque de 1 200 peintures, dessins un Alyscamps moderne (cimetière ments traditionnels. À leur côté, une convaincre Cernuschi de partir dans et estampes), mais ils ont aussi romain d'Arles immortalisé par demoiselle au décolleté plongeant, une expédition autant financière libéré, grâce à l'abattement de cloi­ Gauguin). Tout autour, des maisons aux épingles à cheveux fantasques et qu'esthétique! Il le mènera de sep­ sons, un bâtiment qui souffrait de la à cour en grès et autres éléments aux manches longues et drapées, tembre 1871 à janvier 1873 du sempiternelle grisaille parisienne. de tombeaux, tel un arbre taoïste de rappelle par sa coquetterie d'outre- Fleuve Bleu au Grand Canal, et du Le lieu est bien pensé. Comme la vie et de la mort, don très sur­ tombe la courtisane des Tang. Yang Fleuve Jaune jusqu'à Jehol, capitale un clin d'œil au passé, le fumoir prenant de Jacques Barrère, grand Guifei, pendue avec son amant par des Khans de Mongolie-Intérieure. d'Henri Cernuschi, grand élément spécialiste de l'art Gandhara gréco- un empereur toujours épris. Leur voyage, en pleine guerre de du décor du Second Empire et de la bouddhique. Il faut redescendre pour péné­ l'Opium, grande période du pillage Troisième République, près de l'en­ trer dans la salle réservée aux chinois, devancera celui de Samuel trée, rappelle l'origine des lieux et UN ESCALIER SUSPENDU dynasties mongoles, avec colliers en cristal de roche, oreillers en bois Bing, et d'Emile Guimet, lui aussi rend hommage au maître. On monte DANS LE VIDE... amoureux de l'Asie, qui fondera plus doré et parures-masques, mascu­ ensuite grâce à un escalier, flanqué Cette surprenante salle-cimetière tard un célèbre musée. Cernuschi de vases japonais bleus et blancs, est surplombée d'un immense Boud­ lines et féminines en bronze doré ramènera de ses voyages quatre baigné dans un puits de lumière, dha en bronze noir, haut de quatre de l'époque Liao (916-1125), don cents trésors qu'il expose à son re­ vers l'entrée des salles d'expositions mètres. Il a été ramené de Meguro, de Christian Deydier (Président des tour au Palais de l'Industrie. Mais, gardées par d'étranges et immenses quartier de Tokyo. Les yeux fermés, antiquaires parisiens et grand spé­ soucieux de mieux abriter sa collec­ cigognes en bronze. assis sur un lotus qui repose lui-même cialiste de bronzes et de l'orfèvrerie sur un socle noir. U domine la salle et tion, il achète la dernière parcelle Les salles se succèdent dans et de l'argenterie mongole). non bâtie du parc Monceau et confie semble regarder à travers l'immense En quittant ce joyau des musées un ordre dynastique: salles Skmg, baie vitrée qui donne sur le parc. à l'architecte William Bouvvens van der asiatiques, promenade brève à tra­ Zhou, Han et Tang, pour finir avec Sous le Bouddha, des écuyers Boijen (1834-1907) la construction vers les grandes époques de l'esthé- les dynasties mongoles. La première et domestiques sont encastrés dans d'une demeure à la fois mondaine impression est celle d'une paix boud­ le marbre noir, avec boucles de tisme du Royaume du Milieu, on se et d'exposition. dhique avec les premiers objets ceintures et autres objets que les sent apaisé. Après ce bain de lumière À sa mort en 1896, il lègue son sortis du bassin du Fleuve Jaune: Chinois avaient tendance à emporter et de civilisation peuplé de bronzes domicile-musée à la Ville de Paris anneau bi en jade, joues de mors sous terre pour l'au-delà. Sombre archaïques inspirés de l'imagination qui l'ouvre au public en 1898. des premiers chars, sabres, masque et secrète chambre funéraire! débordante des Han, de la haute de Sanxingdui, et objets rituels de Un escalier suspendu dans le vide civilisation des Tang et du noma­ sacrifice en bronze aux reflets pour­ monte vers le Bouddha. Sur une mez­ disme de l'époque mongole, Paris zanine, le visiteur se retrouve face UN MUSÉE POUSSIÉREUX pres: gu, zun et h u, disposés sur semble parée de nouveau de splen­ à des stèles et statuettes funéraires deur et la vaste colonnade du parc DEVIENT UN ÉCRIN des plaques d'albâtre et illuminés minqi des dynasties des Wei du Monceau invite à la flânerie, n TRANSPARENT par le sol. Désormais les bronzes, Nord (386-5.34), des Sui (821-618) 1 Quand je suis arrivée à Paris, datant du XV ' siècle avant J.-C. au et des Tang (618-907), poétique et il y a plus de dix ans, le Musée III' après J.-C, sont si bien éclairés magique mélange d'apsaras et de Boddhisattvas. Cernuschi était un sombre bâtiment qu'il est difficile de distinguer Dans la salle attenante, l'Est regorgeant de trésors mal éclairés les taotie, dragons et autres bêtes s'ouvre à l'Ouest grâce à la Route el mal exposés. mythiques qui les ornent.
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