{"id":16534,"date":"2022-09-12T10:52:50","date_gmt":"2022-09-12T08:52:50","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/boutique-crg\/ecorche-en-bronze-italie-circa-1600\/"},"modified":"2022-09-14T17:13:22","modified_gmt":"2022-09-14T15:13:22","slug":"ecorche-en-bronze-italie-circa-1600","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/ecorche-en-bronze-italie-circa-1600\/","title":{"rendered":"Ecorch\u00e9 en bronze – Italie – Circa 1600"},"content":{"rendered":"

Debout dans un l\u00e9ger contrapposto, l\u2019homme tourne la t\u00eate vers sa gauche, son bras droit suit le long du corps avec le pouce et l\u2019index joints, le bras gauche est l\u00e9g\u00e8rement ouvert. Ce superbe \u00e9corch\u00e9 en bronze repose sur un socle post\u00e9rieur fait de deux types de marbre\u00a0: marbre de Sienne et du marbre vert antique.<\/span>
A partir du XVIe si\u00e8cle se d\u00e9veloppe en Italie un int\u00e9r\u00eat sans pr\u00e9c\u00e9dent pour l\u2019anatomie, m\u00ealant de mani\u00e8re in\u00e9dite science et art. Cette red\u00e9couverte de l\u2019anatomie implique de nombreux changements, notamment concernant la vision quasi \u00ab\u00a0cartoonesque\u00a0\u00bb du corps humain, h\u00e9ritage de la m\u00e9decine antique. Pendant les si\u00e8cles pr\u00e9c\u00e9dents, les m\u00e9decins et physiciens pensaient que les maladies r\u00e9sultaient d\u2019un d\u00e9s\u00e9quilibre des quatre humeurs constituant le corps\u00a0: la sang, la lymphe, la bile jaune et la bile noire. Avec cette vision de la m\u00e9decine, l\u2019anatomie jouait un r\u00f4le tr\u00e8s limit\u00e9 d\u00fb \u00e0 une g\u00e9n\u00e9rale incompr\u00e9hension du r\u00f4le des organes, du syst\u00e8me de la circulation sanguine et une m\u00e9connaissance de la chimie de base. Mais gr\u00e2ce \u00e0 ce nouvel int\u00e9r\u00eat pour l\u2019anatomie d\u00e8s le XIVe si\u00e8cle et surtout pendant le XVIe, une nouvelle science de la gu\u00e9rison se d\u00e9veloppe en se basant sur un principe que l\u2019on retrouve dans notre m\u00e9decine moderne\u00a0: si un organe est malade alors le traitement doit \u00eatre appliqu\u00e9 au dit organe plut\u00f4t qu\u2019au corps en son int\u00e9gralit\u00e9.<\/span>
Cette r\u00e9volution scientifique s\u2019observe \u00e9galement, comme bien souvent, au sein de la cr\u00e9ation artistique. Rappelons qu\u2019\u00e0 cette \u00e9poque les manuscrits autrefois recopi\u00e9s par les religieux se transforment en imprim\u00e9s et la r\u00e9volution technologique de l\u2019imprimerie permet une production et diffusion des ouvrages rapide et internationale. Etant une science qui n\u00e9cessite la description de formes visuelles\u00a0: l\u2019anatomie a besoin d\u2019images, surtout d\u2019images pouvant \u00eatre reproduites avec la pr\u00e9cision d\u2019une impression. C\u2019est une des raisons qui explique l\u2019implication d\u2019artistes. Si les imprimeurs et les graveurs ont d\u2019abord \u00e9t\u00e9 les acteurs majeurs de cette \u00e9trange et unique collaboration interdisciplinaire\u00a0; certains artistes finissent par devenir anatomistes eux-m\u00eames : leur permettant de d\u00e9velopper une r\u00e9alit\u00e9 anatomique dans leurs cr\u00e9ations. Cr\u00e9ant, ind\u00e9pendamment de toute m\u00e9decine, des images anatomiques parfois plus avanc\u00e9es et pr\u00e9cises que celles produites par les anatomistes professionnels. Ce n\u2019est qu\u2019au milieu du XVIe si\u00e8cle que la science \u00ab\u00a0dure\u00a0\u00bb reprend le dessus et obtient le total contr\u00f4le sur les illustrations anatomiques.\u00a0<\/span>
C\u2019est avec des grands noms comme Michel-Ange et surtout de Vinci que l\u2019int\u00e9r\u00eat des artistes pour l\u2019anatomie atteint son z\u00e9nith\u00a0: artiste et scientifique complet, L\u00e9onard r\u00e9alise de nombreuses d\u00e9couvertes gr\u00e2ces aux dissections, qui lui permettent de r\u00e9futer des th\u00e9ories antiques jusque-l\u00e0 en place. Quant \u00e0 Michel-Ange il \u00e9tudie l\u2019anatomie exclusivement pour parfaire son art mais pousse sa connaissances du syst\u00e8me musculaire \u00e0 l\u2019extr\u00eame. L\u2019\u00e9tude des muscles et des squelettes devient, \u00e0 partir de ce moment, une part importante de l\u2019apprentissage des artistes\u00a0: une bonne connaissance du corps humain pour une meilleure repr\u00e9sentation dans l\u2019art.\u00a0<\/span>
Comme dit pr\u00e9c\u00e9demment les scientifiques finissent par assumer un r\u00f4le dominant dans l\u2019illustration anatomique. Pour ne citer que lui\u00a0: Andreas Vasalius, scientifique ayant \u00e9tudi\u00e9 la m\u00e9decine \u00e0 Paris et en Italie, publie en 1543 \u00e0 Basel, le\u00a0De humani corporis fabrica<\/em>(A propos de la fabrique du corps humain). Cet ouvrage est fondateur pour l\u2018anatomie moderne et participe \u00e0 l\u2019\u00e9volution de la repr\u00e9sentation de l\u2019homme et du vivant. Outre son contenu scientifique qui r\u00e9volutionne la m\u00e9decine, ce qui rend ce trait\u00e9 exceptionnel est le fait que son auteur, bien que scientifique de formation, supervise les illustrations r\u00e9alis\u00e9s pour son ouvrage\u00a0: alliant ainsi qualit\u00e9 artistique \u00e0 la rigueur et la pr\u00e9cision scientifique. Illustr\u00e9 par plusieurs artistes comme des \u00e9l\u00e8ves de Titien, Jan Calcar ou bien Vasalius lui-m\u00eame, cet ouvrage est encore aujourd\u2019hui consid\u00e9r\u00e9 comme un des plus beaux livres du monde notamment gr\u00e2ce \u00e0 la qualit\u00e9 de ses planches d\u2019illustrations. L\u2019une d\u2019entre elle repr\u00e9sente un \u00e9corch\u00e9\u00a0: mis en sc\u00e8ne dans un paysage bucolique, un homme debout sans peau, qui laisse donc appara\u00eetre tout son syst\u00e8me musculaire. Cet ouvrage fondateur marque le d\u00e9but d\u2019une p\u00e9riode nouvelle en mati\u00e8re m\u00e9dicale, mais apparait \u00e9galement comme l\u2019aboutissement de cette pens\u00e9e scientifique datant du XIVe si\u00e8cle.<\/span>
La popularit\u00e9 de l\u2019ouvrage se mesure \u00e9galement au nombre de plagiats et copies partielles qui se suivent. Jusqu\u2019\u00e0 la fin du XVIIe si\u00e8cle, la majorit\u00e9 des trait\u00e9s d\u2019anatomie comportent des parties de textes et des illustrations copi\u00e9es ou inspir\u00e9es de la Fabrica. La planche de l\u2019\u00e9corch\u00e9 n\u2019y \u00e9chappe pas et pour n\u2019en citer qu\u2019un\u00a0: Gaspar Becerra r\u00e9alise vers 1556 un \u00e9corch\u00e9 tr\u00e8s similaire pour illustrer l\u2019ouvrage de l\u2019espagnol Juan de Valverde de Amusco,\u00a0Historia de la composicion del cuerpo humano<\/em>. A travers la cr\u00e9ation et diffusion de ces copies, la repr\u00e9sentation de l\u2019\u00e9corch\u00e9 se standardise\u00a0: un homme debout, la t\u00eate lev\u00e9e et tourn\u00e9e, un bras ouvert et l\u2019autre tenant le morceau de peau de la cuisse qu\u2019il vient de s\u2019arracher.<\/span>
D\u2019abord cantonn\u00e9 \u00e0 la gravure et aux dessins d\u2019illustrations, le th\u00e8me de l\u2019\u00e9corch\u00e9 atteint d\u2019autre domaine de la cr\u00e9ation artistique avec le temps, notamment les petites statues en bronze qui sont utilis\u00e9s comme des mod\u00e8les d\u2019\u00e9tudes anatomique pour les \u00e9l\u00e8ves et apprentis artistes. Au XVIIIe et XIXe si\u00e8cle, l\u2019int\u00e9r\u00eat pour l\u2019\u00e9corch\u00e9 \u00e9volue\u00a0: il devient un objet de curiosit\u00e9. La pr\u00e9cision anatomique du syst\u00e8me musculaire est parfois diminu\u00e9e au profit de l\u2019esth\u00e9tisme, le bronze est privil\u00e9gi\u00e9 pour cr\u00e9er des objets de qualit\u00e9 et de prestige et surtout les postures peuvent vari\u00e9es (archer rel\u00e2chant une fl\u00e8che, \u00e9corch\u00e9 philosophant sur sa propre existence, athl\u00e8te au repos\u2026).\u00a0<\/span>
Notre \u00e9corch\u00e9 est \u00e0 placer dans cette p\u00e9riode de transition dans la vision, repr\u00e9sentation et compr\u00e9hension du corps humain. Parfait exemple de l\u2019objet qui intriguait les collectionneurs, il est saisissant pour la grande finesse de ciselage et son r\u00e9alisme.<\/span><\/p>\n

_____________________________________________<\/p>\n

Standing in a slight contrapposto, the man turns his head to his left, his right arm follows along the body with the thumb and index finger joined, the left arm is slightly open. This superb flayed bronze rests on a posterior plinth made of two types of marble: Siena marble and antique green marble. From the 16th century, an unprecedented interest in anatomy developed in Italy, combining science and art in an unprecedented way. This rediscovery of anatomy involves many changes, particularly concerning the almost \u00ab\u00a0cartoonesque\u00a0\u00bb vision of the human body, a legacy of ancient medicine. For centuries, physicians and physicists believed that disease resulted from an imbalance of the four humours that make up the body: blood, lymph, yellow bile and black bile. With this vision of medicine, anatomy played a very limited role due to a general misunderstanding of the role of the organs, the blood circulation system and a misunderstanding of basic chemistry. But thanks to this new interest in anatomy from the 14th century and especially during the 16th century, a new science of healing developed based on a principle found in our modern medicine: if an organ is sick then the treatment must be applied to said organ rather than to the body as a whole. This scientific revolution is also observed, as so often, within artistic creation. It should be remembered that at that time the manuscripts formerly copied by the monks were transformed into printed matter and the technological revolution of the printing press allowed rapid and international production and distribution of works. Being a science that requires the description of visual forms: anatomy needs images, especially images that can be reproduced with the precision of an impression. This is one of the reasons for the involvement of artists. If printers and engravers were initially the major players in this strange and unique interdisciplinary collaboration; some artists end up becoming anatomists themselves: allowing them to develop anatomical reality in their creations. Creating, independent of any medicine, anatomical images that are sometimes more advanced and precise than those produced by professional anatomists. It was not until the middle of the 16th century that \u201chard\u201d science regained the upper hand and obtained total control over anatomical illustrations. It is with great names like Michelangelo and especially Da Vinci that the interest of artists for anatomy reached its zenith: artist and complete scientist, Leonardo made many discoveries thanks to dissections, which allowed him to refute theories ancient hitherto in place. As for Michelangelo, he studied anatomy exclusively to perfect his art but pushed his knowledge of the muscular system to the extreme. The study of muscles and skeletons becomes, from this moment, an important part of the apprenticeship of artists: a good knowledge of the human body for a better representation in art. As said before scientists end up assuming a dominant role in anatomical illustration. To cite only him: Andreas Vasalius, a scientist who studied medicine in Paris and Italy, published in 1543 in Basel, De humani corporis fabrica (About the making of the human body). This work is a foundation for modern anatomy and participates in the evolution of the representation of man and living things. In addition to its scientific content which revolutionizes medicine, what makes this treatise exceptional is the fact that its author, although a scientist by training, supervises the illustrations produced for his work: thus combining artistic quality with scientific rigor and precision. Illustrated by several artists such as pupils of Titian, Jan Calcar or even Vasalius himself, this work is still considered today as one of the most beautiful books in the world, in particular thanks to the quality of its illustration plates. One of them represents a flayed person: staged in a bucolic landscape, a man standing without skin, which therefore reveals his entire muscular system. This founding work marks the beginning of a new period in medical matters, but also appears as the culmination of this scientific thought dating from the 14th century. The popularity of the book is also measured by the number of plagiarisms and partial copies that follow. Until the end of the 17th century, the majority of anatomical treatises included parts of texts and illustrations copied or inspired by the Fabrica. The board of the Ecorch\u00e9 is no exception and to cite just one: Gaspar Becerra produced a very similar Ecorch\u00e9 around 1556 to illustrate the work of the Spaniard Juan de Valverde de Amusco, Historia de la composicion del cuerpo humano. Through the creation and dissemination of these copies, the representation of the flayed man became standardized: a man standing, his head raised and turned, one arm open and the other holding the piece of skin from the thigh he had just taken off. ‘to tear out. Initially confined to engraving and illustrative drawings, the theme of the skinned person reached other areas of artistic creation over time, notably the small bronze statues which were used as models for anatomical studies for students and apprentice artists. In the 18th and 19th centuries, interest in the \u00e9corch\u00e9 evolved: it became an object of curiosity. The anatomical precision of the muscular system is sometimes reduced in favor of aesthetics, bronze is favored to create quality and prestigious objects and above all the postures can vary (archer releasing an arrow, flayed man philosophizing on his own existence, athlete rest\u2026). Our cutaway is to be placed in this period of transition in the vision, representation and understanding of the human body. Perfect example of the object that intrigued collectors, it is striking for the great finesse of the carving and its realism.<\/span><\/em>
<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022\u00a0<\/span><\/span><\/em>P\u00e9riode :<\/span><\/span><\/em><\/span><\/span>\u00a0Circa 1600<\/span><\/span><\/em><\/span><\/span><\/em><\/p>\n

\u2022 Origine : <\/span><\/span>Italie<\/span><\/span><\/em><\/p>\n

\u2022 Mat\u00e9riaux :\u00a0<\/span><\/span>Bronze<\/span><\/em><\/p>\n

\u2022 Dimensions :\u00a0<\/span><\/span>H : 42 cm<\/span><\/em><\/p>\n

\u2022 \u00c9tat :\u00a0<\/span><\/span><\/em>Tr\u00e8s belle patine, quelques manques aux mains et un orteil au pied droit<\/span><\/span><\/em><\/p>\n

________________________________<\/p>\n

\u2022\u00a0<\/span><\/span><\/em><\/span><\/em><\/span>Period:\u00a0<\/span>Circa 1600<\/span><\/em><\/span><\/p>\n

\u2022 Origin:\u00a0<\/span><\/em><\/span>Italy<\/span><\/em><\/span><\/p>\n

\u2022 Materials: <\/span><\/em><\/span>Bronze<\/span><\/em><\/span><\/p>\n

\u2022 Dimensions:\u00a0<\/span><\/em><\/span>H : 42 cm<\/span><\/em><\/p>\n

\u2022 Condition:\u00a0<\/span><\/em><\/span>Tr\u00e8s belle patine, quelques manques aux mains et un orteil au pied droit<\/span><\/span><\/em><\/p>\n","protected":false},"featured_media":16525,"template":"","meta":[],"product_brand":[],"product_cat":[226],"product_tag":[],"class_list":{"0":"post-16534","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-piatti","7":"description-off","9":"first","10":"instock","11":"shipping-taxable","12":"product-type-simple"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product\/16534","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media\/16525"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=16534"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=16534"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=16534"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=16534"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}