{"id":18778,"date":"2023-04-03T15:29:44","date_gmt":"2023-04-03T13:29:44","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/boutique-crg\/sainte-anne-et-saint-joachim-en-marbre-italie-xviie-siecle\/"},"modified":"2023-04-12T13:22:32","modified_gmt":"2023-04-12T11:22:32","slug":"sainte-anne-et-saint-joachim-en-marbre-italie-xviie-siecle","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/sainte-anne-et-saint-joachim-en-marbre-italie-xviie-siecle\/","title":{"rendered":"Sainte Anne et saint Joachim en marbre – Italie – XVIIe si\u00e8cle"},"content":{"rendered":"

Cette belle paire de sculptures en marbre repr\u00e9sente les saints Anne et<\/span>
Joachim, parents de la Vierge. Absents des textes canoniques bibliques, les figures et l\u2019histoire de ces saints proviennent du r\u00e9cit apocryphe grec du Prot\u00e9vangile de Jacques, puis de son adaptation latine l\u2019Evangile du Pseudo-Matthieu. C\u2019est toutefois au XIIIe si\u00e8cle, gr\u00e2ce \u00e0 la propagation de la L\u00e9gende dor\u00e9e par Jacques de Voragine, que leur image s\u2019installe dans la culture populaire.<\/span>
D\u2019apr\u00e8s les textes, Anne, fille d\u2019Akar et \u00c9m\u00e9rencie de la Tribu de L\u00e9vi, serait n\u00e9e \u00e0 Bethl\u00e9em vers l\u2019an 55 avant J-C. Elle est d\u00e9crite comme une femme pieuse et longtemps st\u00e9rile. Sa figure fait souvent r\u00e9f\u00e9rence, dans les apocryphes, \u00e0 son homonyme v\u00e9t\u00e9ro-testamentaire Hannah, m\u00e8re de Samuel, proph\u00e8te et dernier juge d\u2019Isra\u00ebl. Joachim remonte quant \u00e0 lui \u00e0 la Tribu royale de Juda, descendant de la lign\u00e9e du roi David. Pieux et charitable, il est pasteur de brebis \u00e0 Nazareth puis\u00a0<\/span>s\u2019occupe plus tard du cheptel de son p\u00e8re pr\u00e8s de J\u00e9rusalem.<\/span>
<\/p>\n

Les r\u00e9cits rapportent que leur rencontre a lieu \u00e0 J\u00e9rusalem. Joachim se rendait r\u00e9guli\u00e8rement au Temple car il s\u2019occupait de sa d\u00e9coration. Alors qu\u2019il lavait ses moutons dans la piscine de Bethesda, Anne se trouvait pr\u00e8s de la Porte des brebis situ\u00e9e juste \u00e0 c\u00f4t\u00e9. Apr\u00e8s vingt ans de mariage, le couple d\u00e9cide de se s\u00e9parer car ils n\u2019arrivent pas \u00e0 enfanter. D\u00e9sesp\u00e9r\u00e9s par leur situation qui pose de nombreux probl\u00e8mes dans leurs vies religieuse et personnelle, ils je\u00fbnent et prient chacun de leur c\u00f4t\u00e9 dans l\u2019espoir d\u2019\u00eatre entendus par Dieu. Quarante jours plus tard, un ange leur appara\u00eet s\u00e9par\u00e9ment afin de leur transmettre qu\u2019ils seront bient\u00f4t parents.<\/span>
Leur Rencontre miraculeuse \u00e0 la Porte dor\u00e9e, apr\u00e8s l\u2019annonce de la prochaine naissance de leur enfant, compte parmi les repr\u00e9sentations les plus populaires de ces deux saints. Au XIIIe si\u00e8cle, la post\u00e9rit\u00e9 l\u00e9gendaire de sainte Anne se diffuse et en d\u00e9coule le culte de la Sainte Parent\u00e9 qui devient \u00e9galement une iconographie populaire des saints parents de la Vierge, en opposition \u00e0 celle de la Sainte Famille. Leur culte d\u00e9cline progressivement au XVIe si\u00e8cle dans les territoires touch\u00e9s par la Contre-R\u00e9forme. Toutefois, en Italie, sainte Anne et saint Joachim continuent d\u2019\u00eatre repr\u00e9sent\u00e9s et v\u00e9n\u00e9r\u00e9s. Ils sont les saints patrons des grands-parents et de la f\u00e9condit\u00e9 des couples.<\/span>
Nos oeuvres sont sculpt\u00e9es sur trois faces et devaient donc \u00eatre destin\u00e9es \u00e0 de petites niches, peut-\u00eatre pour une chapelle d\u00e9di\u00e9e aux deux saints. Saint Joachim est non finito : sa chevelure ne semble pas termin\u00e9e. La technique du non finito appara\u00eet pour la premi\u00e8re fois dans les cr\u00e9ations de Donatello qui d\u00e9sirait mettre en avant les intensit\u00e9s spirituelle et dramatique des sujets repr\u00e9sent\u00e9s. Il s\u2019agit donc, pour certains artistes, d\u2019une volont\u00e9 artistique, d\u2019une technique utilis\u00e9e<\/span>
comme moyen d\u2019expression. Pour d\u2019autres, comme Michel-Ange, il semble que le non finito apparaisse plus comme une esth\u00e9tique de l\u2019inachev\u00e9 qui r\u00e9sulte de la difficult\u00e9 pour l\u2019artiste d\u2019atteindre la perfection.<\/span>
L\u2019artiste de nos saints Anne et Joachim emploie \u00e9galement la technique du tr\u00e9pan, sorte de foret actionn\u00e9 \u00e0 la main au moyen d\u2019un archet. Cet outil est employ\u00e9 depuis l\u2019Antiquit\u00e9 afin d\u2019atteindre des renfoncements, d\u00e9gager des parties difficiles d\u2019acc\u00e8s et d\u00e9grossir des gorges de faible diam\u00e8tre en formant des cavit\u00e9s cylindriques. Lent mais pr\u00e9cis, le tr\u00e9pan est destin\u00e9 aux endroits tr\u00e8s fragiles et \u00e0 des mat\u00e9riaux durs comme le bois, la pierre et le marbre. La technique du tr\u00e9pan permet d\u2019apporter mouvement et profondeur \u00e0 l\u2019ensemble.<\/span>
Elles s\u2019inscrivent dans la production de sculptures d\u2019\u00e9glises r\u00e9alis\u00e9es par des artistes baroques italiens \u00e0 la fin du XVIIe si\u00e8cle. Le sculpteur Orazio Marinali (1643-1720) a produit plusieurs oeuvres de ce type dont certaines sont expos\u00e9es aujourd\u2019hui au mus\u00e9e de la Ville de Cr\u00e9mone. Les dimensions, l\u2019expression et la gestuelle des mains apportent une certaine dramatisation, typique de la sculpture baroque, et rappellent les caract\u00e9ristiques de nos saints Anne et Joachim.<\/span>
A San Gregorio da Sassola, un artiste probablement du cercle du Bernin a r\u00e9alis\u00e9 les sculptures pour le couvent Santa Maria Nuova. Deux d\u2019entre elles figurent sainte Anne et saint Joachim avec cette m\u00eame dramatisation exprim\u00e9e par la gestuelle des personnages et par le mouvement des drap\u00e9s et de leur corps.<\/span>
Nos deux sculptures s\u2019inscrivent donc dans la production du baroque<\/span>\u00a0<\/span>italien de la fin du XVIIe si\u00e8cle avec un mouvement exag\u00e9r\u00e9, des effets<\/span>\u00a0<\/span>dramatiques, une tension dans l\u2019expression et une certaine exub\u00e9rance des formes, comme la main de sainte Anne dont la taille contraste avec le reste du corps. Comme le disait Philippe Beaussant, l\u2019\u00e9poque baroque \u00e9tait \u00ab un monde o\u00f9 tous les contraires seraient harmonieusement possibles \u00bb.<\/span><\/p>\n

________________________________________<\/p>\n

This beautiful pair of marble sculptures represents Saints Anne and <\/span>\u00a0<\/span>Joachim, parents of the Virgin Mary. Absent from the biblical canonical texts, the figures and story of these saints come from the Greek apocryphal account of the Gospel of James, then from its Latin adaptation, the Gospel of Pseudo-Matthew. However, it was in the 13th century, thanks to the propagation of the Golden Legend by James of Voragine, that their image became established in popular culture.<\/span><\/em>
According to the texts, Anne, daughter of Akar and emeritus of the Tribe of Levi, was born in Bethlehem around 55 BC. She is described as a pious woman who was barren for a long time. Her figure is often referred to, in the apocrypha, as her Old Testament namesake Hannah, mother of Samuel, prophet and last judge of Israel. Joachim, on the other hand, goes back to the Royal Tribe of Judah, descending from the line of King David. Pious and charitable, he was a shepherd of sheep in Nazareth and later took care of his father’s flock near Jerusalem.<\/span><\/em>
The stories say that their meeting took place in Jerusalem. Joachim was a regular visitor to the Temple because he was involved in its decoration. While he was washing his sheep in the Pool of Bethesda, Hannah was near the Sheep Gate next door. After twenty years of marriage, the couple decided to separate because they could not bear children. Desperate for their situation, which posed many problems in their religious and personal lives, they fasted and prayed on their own in the hope that God would hear them. Forty days later, an angel appeared to them separately to tell them that they would soon be parents.<\/span><\/em>
Their miraculous meeting at the Golden Gate, after the announcement of the forthcoming birth of their child, is one of the most popular representations of these two saints. In the 13th century, the legendary posterity of St. Anne spread and the cult of the Holy Kinship was born, which also became a popular iconography of the holy parents of the Virgin, in opposition to that of the Holy Family. Their cult gradually declined in the sixteenth century in the territories affected by the Counter-Reformation. However, in Italy, Saint Anne and Saint Joachim continue to be represented and venerated. They are the patron saints of grandparents and of the fertility of couples.<\/span><\/em>
Our works are carved on three sides and were therefore intended for small niches, perhaps for a chapel dedicated to the two saints. Saint Joachim is non finito: his hair does not seem to be finished. The technique of the non finito appears for the first time in the creations of Donatello who wished to emphasize the spiritual and dramatic intensity of the subjects represented. It is thus, for certain artists, an artistic will, a technique used as a means of expression. For others, like Michelangelo, it seems that the non finito appears more like an aesthetic of the unfinished which results from the difficulty for the artist to reach the perfection.<\/span><\/em>
The artist of our saints Anne and Joachim also uses the technique of the drill bit, a kind of hand-operated drill with a bow. This tool has been used since ancient times to reach recesses, clear hard-to-reach parts and rough out small diameter grooves by forming cylindrical cavities. Slow but precise, the drill bit is intended for very fragile areas and hard materials such as wood, stone and marble. The technique of the drill bit allows to bring movement and depth to the whole.<\/span><\/em>
They are part of the production of church sculptures made by Italian Baroque artists at the end of the 17th century. The sculptor Orazio Marinali (1643-1720) produced several works of this type, some of which are now on display in the Cremona City Museum. The dimensions, the expression and the gestures of the hands bring a certain dramatization, typical of Baroque sculpture, and recall the characteristics of our Saints Anne and Joachim.<\/span><\/em>
In San Gregorio da Sassola, an artist probably from Bernini’s circle made the sculptures for the Santa Maria Nuova convent. Two of them represent St. Anne and St. Joachim with the same dramatization expressed by the gestures of the characters and by the movement of the draperies and of their bodies.<\/span><\/em>
Our two sculptures are thus part of the production of the Italian Baroque of the end of the XVIIth century with an exaggerated movement, dramatic effects, a tension in the expression and a certain exuberance of the forms, like the hand of Saint Anne whose size contrasts with the rest of the body. As Philippe Beaussant said, the Baroque period was \u00ab\u00a0a world where all the opposites would be harmoniously possible\u00a0\u00bb.<\/span><\/em>
<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022\u00a0<\/span><\/span><\/em>P\u00e9riode :<\/span><\/span><\/em><\/span><\/span>\u00a0XVIIe si\u00e8cle<\/span><\/span><\/em><\/span><\/span><\/em><\/p>\n

\u2022 Origine :\u00a0<\/span><\/span>Italie<\/span><\/span><\/em><\/p>\n

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

\u2022 Dimensions :\u00a0<\/span><\/span>H : 50 cm<\/span><\/em><\/p>\n

\u2022 \u00c9tat :\u00a0<\/span><\/span><\/em>Tr\u00e8s bel \u00e9tat<\/span><\/span><\/em><\/p>\n

________________________________<\/p>\n

\u2022\u00a0<\/span><\/span><\/em><\/span><\/em><\/span>Period:\u00a0<\/span>17th century<\/span><\/em><\/span><\/p>\n

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

\u2022 Materials:\u00a0<\/span><\/em><\/span>Marble<\/span><\/em><\/span><\/p>\n

\u2022 Dimensions:\u00a0<\/span><\/em><\/span>H : 50 cm<\/span><\/em><\/p>\n

\u2022 Condition: <\/span><\/em><\/span>Very good condition<\/span><\/em><\/span><\/p>\n","protected":false},"featured_media":18766,"template":"","meta":[],"product_brand":[],"product_cat":[226],"product_tag":[],"class_list":{"0":"post-18778","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\/18778","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\/18766"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=18778"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=18778"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=18778"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=18778"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}