{"id":7783,"date":"2021-05-03T14:13:20","date_gmt":"2021-05-03T12:13:20","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/testboutique\/boutique-crg\/cristo-vivo-toscane-debut-du-xviie-siecle\/"},"modified":"2021-05-12T15:50:36","modified_gmt":"2021-05-12T13:50:36","slug":"cristo-vivo-toscane-debut-du-xviie-siecle","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/cristo-vivo-toscane-debut-du-xviie-siecle\/","title":{"rendered":"Cristo Vivo – Toscane – d\u00e9but du XVIIe si\u00e9cle"},"content":{"rendered":"
\n

Ce splendide Christ a \u00e9t\u00e9 r\u00e9alis\u00e9 en Toscane, Italie, \u00e0 l\u2019or\u00e9e du XVIIe si\u00e8cle.<\/p>\n

Le travail du bronze conf\u00e8re au Christ un aspect physique id\u00e9alis\u00e9, notamment permis par la grande pr\u00e9cision et profusion des d\u00e9tails. Une attention particuli\u00e8re est port\u00e9e \u00e0 la ciselure des cheveux, de la barbe et des traits du visage qui rel\u00e8ve d\u2019une grande sensibilit\u00e9 plastique. Malgr\u00e9 les c\u00f4tes saillantes du Christ, la torsion du corps \u00e9puis\u00e9 et la tension de ses muscles \u00e0 l\u2019agonie, une r\u00e9elle s\u00e9r\u00e9nit\u00e9 se d\u00e9gage de cette oeuvre. D\u00e9pouill\u00e9 de tout caract\u00e8re divin, pour n\u2019\u00eatre plus qu\u2019un homme, le Christ n\u2019est v\u00eatu que du traditionnel p\u00e9rizionum, au drap\u00e9 \u00e0 forts plis, laissant une hanche d\u00e9couverte.<\/p>\n<\/div>\n

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Cette pi\u00e8ce est \u00e0 rapprocher du corpus du plasticien Giambologna (1529-1608). N\u00e9 Jehan de Boulongne (en flamand) ou Jean de Bologne ou Boulogne (en fran\u00e7ais) \u00e0 Douai en 1529, il r\u00e9alise son apprentissage aupr\u00e8s du sculpteur Jacques du Brouecq (1505v.- 84) dans les Flandres. Vers 1555, il part en Italie, o\u00f9 il est alors appel\u00e9 Giovanni Bologna (contract\u00e9 post\u00e9rieurement en Giambolonia). Artiste complet, \u00e0 la fois cr\u00e9ateur de mod\u00e8les sculpturaux et iconographiques, il r\u00e9alise un large corpus de\u00a0\u00abCorpora Christi\u00bb. Le vif succ\u00e8s que connurent ses oeuvres est notamment d\u00fb \u00e0 son \u00e9cole. En effet, le plus vraisemblable serait que Giambologna soit \u00e0 l\u2019origine des mod\u00e8les initiaux, dessin\u00e9s puis parfois cr\u00e9\u00e9s en grand format, et ex\u00e9cut\u00e9s ensuite par ses \u00e9l\u00e8ves, ou successeurs, en petits formats destin\u00e9s \u00e0 \u00eatre offerts, en tant que cadeaux diplomatiques par exemple (notamment par les M\u00e9dicis). Cette d\u00e9l\u00e9gation de la production \u00e0 son atelier, permit de diffuser ses mod\u00e8les, r\u00e9alis\u00e9s en nombre plus important, en particulier \u00e0 la fin du XVIe et la premi\u00e8re d\u00e9cennie du XVIIe si\u00e8cle. Certains membres de cet atelier se d\u00e9marqu\u00e8rent, et connurent une certaine notori\u00e9t\u00e9. C\u2019est notamment le cas d\u2019Antonio Susini qui y travailla d\u00e8s 1570 et \u00e0 qui un grand nombre de coulage est attribu\u00e9.<\/p>\n<\/div>\n

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Comme dit pr\u00e9c\u00e9demment, Giambologna ne se contente pas de cr\u00e9er des figures plastiques embl\u00e9matiques, il con\u00e7oit \u00e9galement des sujets. Il entame sa production avec le mod\u00e8le d\u2019un \u00ab\u00a0Cristo Morto\u00a0\u00bb, pr\u00e9sentant le Christ mort, la t\u00eate baiss\u00e9e en signe d\u2019affliction, en r\u00e9f\u00e9rence au passage biblique \u00ab\u00a0Mon Dieu, mon Dieu, pourquoi m’as-tu abandonn\u00e9\u00a0? \u00bb (Matthieu 27:45, Marc 15:34). Il s\u2019agit de la repr\u00e9sentation favoris\u00e9e \u00e0 la fin du Moyen-\u00c2ge, alors que les si\u00e8cles pr\u00e9c\u00e9dents, et ce d\u00e8s les premi\u00e8res repr\u00e9sentations du J\u00e9sus en croix au VIe si\u00e8cle, avaient privil\u00e9gi\u00e9s un Christ encore conscient, sans douleur, avec les yeux ouverts, mais regardant vers le spectateur et rarement tourn\u00e9s vers le ciel. La rupture avec cette tradition a lieu \u00e0 l\u2019occasion de la r\u00e9alisation d\u2019un dessin de Michel-Ange, vers 1540, pour Vittoria Colonna, conserv\u00e9 au British Museum, Londres. J\u00e9sus-Christ y est alors pr\u00e9sent\u00e9 soucieux, implorant le ciel mais bien vivant et le visage tourn\u00e9 vers le ciel.<\/p>\n<\/div>\n

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C\u2019est dans la continuit\u00e9 de ce nouveau mod\u00e8le que Giambologna cr\u00e9a son \u00ab\u00a0Cristo vivo\u00a0\u00bb vers 1590. Il abandonne l\u2019aspect path\u00e9tique afin de lui conf\u00e9rer une nouvelle grandeur, celle de l\u2019acceptation, telle qu\u2019elle est retranscrite dans l\u2019\u00e9vangile selon Saint Luc (23:46) : \u00ab\u00a0P\u00e8re, entre tes mains je remets mon esprit !\u00a0\u00bb. Le fils de Dieu est alors repr\u00e9sent\u00e9 lib\u00e9r\u00e9 de toute souffrance s\u2019offrant \u00e0 la volont\u00e9 de son divin P\u00e8re, vers qui son regard est tourn\u00e9, et apais\u00e9 par la connaissance de sa r\u00e9surrection.<\/p>\n

De plus, cette \u00e9volution du sujet est \u00e9troitement li\u00e9e \u00e0 son contexte de cr\u00e9ation. En effet, le concile de Trente eut une grande d\u00e9tonation dans le monde des arts, obligeant les artistes \u00e0 r\u00e9viser leurs cr\u00e9ations, afin de les adapter aux nouveaux pr\u00e9ceptes religieux que favorisait le concile. Parmi eux, l\u2019importance renouvel\u00e9e du myst\u00e8re l\u2019incarnation et de l\u2019assurance d\u2019un bonheur c\u00e9leste \u00e9ternel permit par la r\u00e9surrection est primordiale, n\u00e9cessitant de nouvelles images pour le c\u00e9l\u00e9brer. Le travail de Giambologna et son atelier est particuli\u00e8rement d\u00e9monstratif de ces interrogations th\u00e9ologiques, o\u00f9 le spectateur doit \u00eatre convi\u00e9 \u00e0 partager la b\u00e9atitude christique et cette m\u00e9ditation divine, selon le mod\u00e8le de\u00a0 \u00ab\u00a0l\u2019Imitatio Christi\u00a0\u00bb.<\/p>\n

Seul deux versions du \u00ab\u00a0Cristo Vivo\u00a0\u00bb ont \u00e9t\u00e9 attribu\u00e9es avec certitude au ma\u00eetre, ou son atelier proche. L\u2019un est conserv\u00e9 au monast\u00e8re des Descatras Reales de Madrid et le second a \u00e9t\u00e9 vendu par la maison de vente Sotheby\u2019s le 9 juillet 2004 (lot 7). La qualit\u00e9 de notre pi\u00e8ce ne laisse aucun doute sur sa proximit\u00e9 avec l\u2019atelier de Giambologna. Notre Cristo Vivo serait certainement d\u00fb \u00e0 une production r\u00e9alis\u00e9e par l\u2019un de ses successeurs, sur le mod\u00e8le de l\u2019artiste, exemple concret du rayonnement ainsi que du succ\u00e8s que connut cette figure. De plus, ce mod\u00e8le de r\u00e9f\u00e9rence transcende le monde sculptural pour s\u2019imposer dans celui de la peinture, comme le prouve le corpus de crucifixion de Guido Reni.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/del><\/p>\n

This splendid Christ was made in Tuscany, Italy, at the beginning of the 17th century. The bronze work gives the Christ an idealized physical appearance, particularly due to the great precision and profusion of details. Particular attention is paid to the chiselling of the hair, beard and facial features, which are of great plastic sensitivity. Despite the protruding ribs of Christ, the twisting of the exhausted body and the tension of his dying muscles, a real serenity emerges from this work. Stripped of all divine character, to be only a man, Christ is dressed only in the traditional perizonum, with a strongly folded drape, leaving one hip uncovered.\u00a0<\/em><\/p>\n

This piece can be compared to the corpus of the plastic artist Giambologna (1529-1608). Born Jehan de Boulongne (in Flemish) or Jean de Bologne or Boulogne (in French) in Douai in 1529, he completed his apprenticeship with the sculptor Jacques du Brouecq (1505v.-84) in Flanders. Around 1555, he leaves for Italy, where he is then called Giovanni Bologna (later contracted in Giambolonia). A complete artist, at the same time creator of sculptural and iconographic models, he produced a large corpus of \u00ab\u00a0Corpora Christi\u00a0\u00bb. The great success of his works is due in particular to his school. Indeed, it is most likely that Giambologna was at the origin of the initial models, drawn and then sometimes created in large format, and then executed by his students, or successors, in small formats intended to be offered as diplomatic gifts for example (notably by the Medici). This delegation of the production to his workshop allowed the diffusion of his models, made in greater numbers, especially at the end of the 16th and the first decade of the 17th century. Some members of this workshop stood out and became well known. This is notably the case of Antonio Susini, who worked there from 1570 and to whom a large number of casts are attributed.\u00a0<\/em><\/p>\n

As previously mentioned, Giambologna not only created emblematic plastic figures, he also designed subjects. He begins his production with the model of a \u00ab\u00a0Cristo Morto\u00a0\u00bb, presenting the dead Christ, with his head bowed in affliction, in reference to the biblical passage \u00ab\u00a0My God, my God, why have you forsaken me? (Matthew 27:45, Mark 15:34) The Bible passage \u00ab\u00a0My God, my God, why have you forsaken me? (Matthew 27:45, Mark 15:34) This was the representation favored in the late Middle Ages, whereas previous centuries, from the earliest representations of Jesus on the cross in the sixth century, had favored a Christ who was still conscious, painless, with his eyes open but looking up at the viewer and rarely turned toward heaven. The break with this tradition took place on the occasion of a drawing by Michelangelo, around 1540, for Vittoria Colonna, preserved in the British Museum, London. In it, Jesus Christ is presented worried, imploring heaven, but alive and with his face turned towards heaven.<\/em><\/p>\n

It is in the continuity of this new model that Giambologna created his \u00ab\u00a0Cristo vivo\u00a0\u00bb around 1590, abandoning the pathetic aspect in order to give it a new greatness, that of acceptance, as it is transcribed in the Gospel according to Saint Luke (23:46): \u00ab\u00a0Father, into your hands I commend my spirit!\u00a0\u00bb. The Son of God is then represented free from all suffering, offering himself to the will of his divine Father, to whom his gaze is turned, and appeased by the knowledge of his resurrection.\u00a0<\/em><\/p>\n

Moreover, this evolution of the subject is closely linked to his context of creation. In fact, the Council of Trent had a great detonation in the world of the arts, forcing artists to revise their creations in order to adapt them to the new religious precepts promoted by the Council. Among them, the renewed importance of the mystery of the Incarnation and of the assurance of eternal heavenly happiness made possible by the resurrection is paramount, requiring new images to celebrate it. The work of Giambologna and his workshop is particularly\u00a0<\/em><\/p>\n

demonstrative of these theological questions, where the spectator must be invited to share the Christic beatitude and this divine meditation, according to the model of the \u00ab\u00a0Imitatio Christi\u00a0\u00bb.<\/em><\/p>\n

Only two versions of \u00ab\u00a0Cristo Vivo\u00a0\u00bb have been attributed with certainty to the master, or his nearby workshop. One is kept at the Monastery of the Descatras Reales in Madrid and the second was sold by the Sotheby’s auction house on July 9, 2004 (lot 7). The quality of our piece leaves no doubt about its proximity to Giambologna’s workshop. Our Cristo Vivo would certainly be due to a production carried out by one of his successors, on the model of the artwork of Giambologna. In addition, this reference model transcends the world of sculpture to impose itself in the world of painting, as Guido Reni’s crucifixion corpus proves.<\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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

\u2022 Dimensions<\/strong> : H. 37,5 cm<\/em><\/p>\n

\u2022 Origine<\/strong> : Toscane, Italie<\/em><\/p>\n

\u2022 P\u00e9riode<\/strong> : circa 1600<\/em><\/p>\n

\u2022 Etat de l\u2019oeuvre<\/strong> : parfait \u00e9tat<\/em><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/del><\/p>\n

Cristo Vivo – Tuscany – Early 17th century<\/em><\/p>\n

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

\u2022 Dimensions<\/strong> : H. 37,5 cm<\/em><\/p>\n

\u2022 Origin<\/strong> : Tuscany, Italy<\/em><\/p>\n

\u2022 Period<\/strong> : circa 1600<\/em><\/p>\n

\u2022 Condition of the work<\/strong> : Perfect condition<\/em><\/p>\n","protected":false},"featured_media":7774,"template":"","meta":[],"product_brand":[],"product_cat":[226],"product_tag":[],"class_list":{"0":"post-7783","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\/7783","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\/7774"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=7783"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=7783"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=7783"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=7783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}