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Philippe Meusnier (1656-1734). Peindre L'architecture Sous L'ancien

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Philippe Meusnier (1656-1734). Peindre L'architecture Sous L'ancien Philippe Meusnier (1656-1734). Peindre l’architecture sous l’Ancien Régime Maud Guichané To cite this version: Maud Guichané. Philippe Meusnier (1656-1734). Peindre l’architecture sous l’Ancien Régime . Art et histoire de l’art. 2014. dumas-01545945 HAL Id: dumas-01545945 https://dumas.ccsd.cnrs.fr/dumas-01545945 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 Maud GUICHANÉ Philippe Meusnier (1656 - 1734) Peindre l’architecture sous l’Ancien Régime T. I - Essai Mémoire de recherche (2nde année de 2ème cycle) en histoire de l’art appliquée aux collections présenté sous la direction de M. Olivier BONFAIT Professeur à l’Université de Bourgogne, Professeur à l’Ecole du Louvre Septembre 2014 2 Sommaire Remerciements .......................................................................................................................... 5 Avertissement ............................................................................................................................ 7 Introduction ............................................................................................................................... 8 I. Philippe Meusnier et Michel Boyer : la carrière d’un peintre d’architecture sous l’Ancien Régime ................................................................................................................................. 13 A. Le milieu social et la formation ................................................................................... 14 1. L’origine sociale et la naissance ............................................................................. 14 2. Le maître et l’atelier ............................................................................................... 17 3. Les séjours romains ................................................................................................ 19 B. La carrière académique et institutionnelle .................................................................... 24 1. L’hypothèse du séjour bavarois de Philippe Meusnier ........................................... 24 2. L’Académie Royale de Peinture et de Sculpture .................................................... 26 3. Les Salons : 1704 et 1725 ....................................................................................... 32 4. La manufacture des Gobelins ................................................................................. 35 5. Le logement aux Galeries du Louvre ...................................................................... 36 C. De la maturité aux dernières années ............................................................................. 38 1. Les années fastes : les grandes commandes des premières décennies du XVIIIe siècle ........................................................................................................................ 38 2. Au crépuscule de la vie, inventaires et successions ................................................ 44 II. Les questions de collaboration ........................................................................................... 51 A. La spécialisation des peintres et l’exemple de la tapisserie ......................................... 53 1. La hiérarchie des genres et la spécialisation des peintres ....................................... 53 2. Les arts décoratifs : l’exemple de la tapisserie ....................................................... 54 B. La collaboration aux grands décors : simple exécuteur ou concepteur ? ..................... 59 1. Les décors royaux de la Perspective de Marly à la chapelle de Versailles ............. 61 2. Philippe Meusnier, collaborateur d’Antoine Coypel : les décors pour le duc d’Orléans ................................................................................................................. 63 3 3. L’escalier de la Reine à Versailles : une exception ? .............................................. 64 C. Les figures des tableaux d’architecture ........................................................................ 67 1. Les sources de la tradition historiographique de la collaboration .......................... 68 2. Antoine Watteau, ses satellites ou le peintre d’architecture : qui peint les figures ? ................................................................................................................... 70 3. Les raisons d’un échange de compétences ............................................................. 76 4. La question de l’attribution et ses conséquences .................................................... 80 III. Le genre de la peinture d’architecture dans la première moitié du XVIIIe siècle : l’architecture « contexte » ou l’architecture « sujet » .......................................................... 84 A. De la technique à la théorie, de la théorie à la représentation ...................................... 86 1. Les prémices théoriques de la perspective et leur application à la représentation de l’architecture ............................................................................................................ 86 2. L’architecture « contexte » en peinture ................................................................... 90 B. L’architecture et la nature, vers une architecture « sujet » ........................................... 93 1. Du paysage aux ruines, des ruines à l’architecture « sujet » .................................. 93 2. Collectionner et exposer les tableaux d’architecture .............................................. 97 3. La quadratura ou le « règne de la perspective » .................................................. 100 C. Philippe Meusnier, de la réalité à l’imaginaire ........................................................... 107 1. Le vocabulaire architecture et les références picturales de Philippe Meusnier .... 107 2. L’architecture rêvée de Philippe Meusnier ........................................................... 112 Conclusion : Le dernier renouveau de la peinture d’architecture sous l’Ancien Régime .................................................................................................................... 116 Conclusion ............................................................................................................................. 119 Bibliographie ......................................................................................................................... 122 1. Sources .................................................................................................................. 123 2. Littérature critique ................................................................................................. 126 Catalogues d’exposition ......................................................................................... 143 4 Remerciements Pour sa disponibilité, sa patiente et intelligente direction qu’il m’a accordées tout au long de cette année, je tiens à remercier particulier mon directeur de recherches monsieur Olivier Bonfait, professeur à l’Université de Bourgogne (Dijon) et à l’Ecole du Louvre. Je souhaite également adresser mes chaleureux remerciements à mes amis et camarades qui m’ont aidée, chacun à leur manière, dans la réalisation et le perfectionnement de cette étude. Mes pensées se dirigent en premier lieu vers mademoiselle Oriane Lavit pour sa passion insatiable, son aide dans la recherche des archives, ses excellentes transcriptions et son soutien de chaque instant ; mais aussi vers monsieur Matthieu Lett (docteur en histoire de l’art) qui m’a apporté son aide précieuse et ses réflexions toujours pertinentes me guidant lors de mes recherches. Je ne manquerais pas de citer également mademoiselle Virginie Bergeret qui propose cette année une intéressante étude sur Jacques Rousseau le maître de notre artiste, monsieur Sébastien Bontemps (docteur en histoire de l’art) pour ses passionnantes réflexions sur les intérieurs d’églises du XVIIIe siècle, et monsieur Maël Tauziede Spariat pour ses enquêtes à propos de certaines sources parfois bien mystérieuses. Que soient ici remerciés pour leur disponibilité, le partage de leur savoir, de leurs propres ressources ou de celles de l’institution pour laquelle ils travaillent, monsieur Thierry Bajou (Conservateur en chef, Direction des Musées de France), monsieur Marc Bayard (Conseiller pour le développement culturel et scientifique, Mobilier national et Manufactures nationales), madame Cécile Bouleau (marchande d’art à Paris), madame Anne Brock (Patrimoine historique et artistique de la Banque de France), madame Emmanuelle Brugerolles (Conservateur générale du patrimoine, Ecole des Beaux-Arts de Paris), monsieur Hervé Cabezas (conservateur, Musée Antoine Lecuyer de Saint-Quentin), monsieur Antoine Cahen (marchand d’art, Galerie Terradès à Paris), monsieur Marc Comelongue (archéologue, chargé de mission aux Archives municipales de la Ville de Toulouse), monsieur Romain Condamine
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