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Tiepolo, Canaletto, Guardi... Les maîtres du style vénitien

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Peinture religieuse, portraits de doges, fresques décoratives, scènes de genre... À Venise, tous les talents trouvent preneurs ! Preuve en est au Grand Palais, qui rend un hommage éblouissant à ...

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Dossier Pédagogique de l'exposition au Louvre et à Liège: "Viva Roma"n en 2018.

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Dossier Pédagogique de l'exposition au Louvre et à Liège: "Viva Roma"n en 2018.

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Carnet de Voyage : Deuxième escale, l'Italie

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Eh oui, les artistes aussi partent en vacances : quête artistique, recherche d'un ailleurs, traditionnel voyage en Italie, fascination pour l'Orient... Le lien entre les artistes et le voyage est très fort et commun à toute époque. Chaque semaine, découvrez une nouvelle destination.

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Lancer l'album / Cliquer sur "T" pour obtenir le texte et les précisions sur l'iconographie (diverses "vedute" dont Piranese et Canaletto)

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« Les ruines de Pompéia sont proches du Vésuve, et c’est par ces ruines que Corinne et lord Nelvil commencèrent leur voyage. Ils étaient silencieux l’un et l’autre ; car le moment de la décision de leur sort approchait, et cette vague espérance, dont ils avaient joui si longtemps, et qui s’accorde s…

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Exposition Gallica

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Bande-annonce de 3mn

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Expo grand Palais 2018 (bande-annonce d'1mn et guide expo en pdf)

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Héritière de longs siècles de domination sur la Méditerranée, la Venise du XVIIIe siècle a perdu de sa puissance politique et commerciale et de son influence. Cependant, la production des artistes reste de tout premier plan. Une grande énergie anime la vie sociale.

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"Tu Marcellus eris", Virgile lisant le sixième livre de l’Eneide à Auguste, Musée des Augustins
Commandé à Rome par le général Miollis à Ingres en 1811, tableau  racheté et restauré par le maître et achevé par son élève Pichon à sa mort. Il évoque un moment dramatique  de la lecture de l’Enéide par Virgile devant Auguste où le poète relate la rencontre d’Enée avec le jeune Marcellus dans les Enfers. Esthétique néoclassique. Cliquez pour agrandir

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(Dessin préparatoire du Met)

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The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 11, 2010-April 11, 2010.

The Metropolitan Museum of Art. "Paper Chase: Two Decades of Collecting Drawings and Prints," December 9, 2014-March 16, 2015.

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Jean Auguste Dominique Ingres | Virgil Reading the Aeneid to Augustus, Livia, and Octavia | The Metropolitan Museum of Art

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The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 11, 2010-April 11, 2010. The Metropolitan Museum of Art. "Paper Chase: Two Decades of Collecting Drawings and Prints," December 9, 2014-March 16, 2015.

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Un excellent dossier d'exposition :           "Souvenirs d'Italie" 

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Un excellent dossier d'exposition :           "Souvenirs d'Italie" 

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à mettre en fiches en autonomie; iconographie en fin de dossier.

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Le Grand Tour des artistes (à traduire à l'ouverture)

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The Met's Heilbrunn Timeline of Art History

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Beginning in the late sixteenth century, it became fashionable for young aristocrats to visit Paris, Venice, Florence, and above all Rome, as the culmination of their classical education. Thus was born the idea of the Grand Tour, a practice that introduced Englishmen, Germans, Scandinavians, and also Americans to the art and culture of France and Italy for the next 300 years. Travel was arduous and costly throughout the period, possible only for a privileged class-the same that produced gentleman scientists, authors, antiquaries, and patrons of the arts.

The Objectives of the Grand Tour
The Grand Tourist was typically a young man with a thorough grounding in Greek and Latin literature as well as some leisure time, some means, and some interest in art. The German traveler Johann Joachim Winckelmann pioneered the field of art history with his comprehensive study of Greek and Roman sculpture; he was portrayed by his friend Anton Raphael Mengs at the beginning of his long residence in Rome ( 48.141). Most Grand Tourists, however, stayed for briefer periods and set out with less scholarly intentions, accompanied by a teacher or guardian, and expected to return home with souvenirs of their travels as well as an understanding of art and architecture formed by exposure to great masterpieces.

London was a frequent starting point for Grand Tourists, and Paris a compulsory destination; many traveled to the Netherlands, some to Switzerland and Germany, and a very few adventurers to Spain, Greece, or Turkey. The essential place to visit, however, was Italy. The British traveler Charles Thompson spoke for many Grand Tourists when in 1744 he described himself as "being impatiently desirous of viewing a country so famous in history, which once gave laws to the world; which is at present the greatest school of music and painting, contains the noblest productions of statuary and architecture, and abounds with cabinets of rarities, and collections of all kinds of antiquities." Within Italy, the great focus was Rome, whose ancient ruins and more recent achievements were shown to every Grand Tourist. Panini's Ancient Rome ( 52.63.1) and Modern Rome ( 52.63.2) represent the sights most prized, including celebrated Greco-Roman statues and views of famous ruins, fountains, and churches. Since there were few museums anywhere in Europe before the close of the eighteenth century, Grand Tourists often saw paintings and sculptures by gaining admission to private collections, and many were eager to acquire examples of Greco-Roman and Italian art for their own collections. In England, where architecture was increasingly seen as an aristocratic pursuit, noblemen often applied what they learned from the villas of Palladio in the Veneto and the evocative ruins of Rome to their own country houses and gardens.

The Grand Tour and the Arts
Many artists benefited from the patronage of Grand Tourists eager to procure mementos of their travels. Pompeo Batoni painted portraits of aristocrats in Rome surrounded by classical staffage ( 03.37.1), and many travelers bought Giovanni Battista Piranesi's prints of Roman views, including ancient structures like the Colosseum ( 59.570.426) and more recent monuments like the Piazza del Popolo ( 37.45.3[49]), the dazzling Baroque entryway to Rome. Some Grand Tourists invited artists from home to accompany them throughout their travels, making views specific to their own itineraries; the British artist Richard Wilson, for example, made drawings of Italian places while traveling with the earl of Dartmouth in the mid-eighteenth century ( 1972.118.294).

Classical taste and an interest in exotic customs shaped travelers' itineraries as well as their reactions. Gothic buildings, not much esteemed before the late eighteenth century, were seldom cause for long excursions, while monuments of Greco-Roman antiquity, the Italian Renaissance, and the classical Baroque tradition received praise and admiration. Jacques Rigaud's views of Paris were well suited to the interests of Grand Tourists, displaying, for example, the architectural grandeur of the Louvre, still a royal palace, and the bustle of life along the Seine ( 53.600.1191; 53.600.1175). Canaletto's views of Venice ( 1973.634; 1988.162) were much prized, and other works appealed to Northern travelers' interest in exceptional fêtes and customs: Giovanni Domenico Tiepolo's Burial of Punchinello ( 1975.1.473), for instance, is peopled with characters from the Venetian carnival, and a print by Francesco Piranesi and Louis Jean Desprez depicts the Girandola, a spectacular fireworks display held at the Castel Sant'Angelo ( 69.510).

The Grand Tour and Neoclassical Taste
The Grand Tour gave concrete form to northern Europeans' ideas about the Greco-Roman world and helped foster Neoclassical ideals. The most ambitious tourists visited excavations at such sites as Pompeii, Herculaneum, and Tivoli, and purchased antiquities to decorate their homes. The third duke of Beaufort brought from Rome the third-century work named the Badminton Sarcophagus ( 55.11.5) after the house where he proudly installed it in Gloucestershire. The dining rooms of Robert Adam's interiors typically incorporated classical statuary; the nine lifesized figures set in niches in the Lansdowne dining room ( 32.12) were among the many antiquities acquired by the second earl of Shelburne, whose collecting activities accelerated after 1771, when he visited Italy and met Gavin Hamilton, a noted antiquary and one of the first dealers to take an interest in Attic ceramics, then known as "Etruscan vases." Early entrepreneurs recognized opportunities created by the culture of the Grand Tour: when the second duchess of Portland obtained a Roman cameo glass vase in a much-publicized sale, Josiah Wedgwood profited from the manufacture of jasper reproductions ( 94.4.172).

Sorabella, Jean. "The Grand Tour." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/grtr/hd_grtr.htm (October 2003)

Black, Jeremy. The British and the Grand Tour. London: Croom Helm, 1985.

Black, Jeremy. Italy and the Grand Tour. New Haven: Yale University Press, 2003.

Black, Jeremy. France and the Grand Tour. New York: Palgrave Macmillan, 2003.

Haskell, Francis, and Nicholas Penny. Taste and the Antique: The Lure of Classical Sculpture, 1500-1900. New Haven: Yale University Press, 1981.

Wilton, Andrew, and Ilaria Bignamini, eds. The Grand Tour: The Lure of Italy in the Eighteenth Century. Exhibition catalogue. London: Tate Gallery Publishing, 1996.

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The Grand Tour | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History

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The Grand Tour gave concrete form to Northern Europeans' ideas about the Greco-Roman world and helped foster Neoclassical ideals.

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Sur Hubert Robert, extrait d'un dossier d'exposition, 2014, sur son séjour en Italie

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Sur Hubert Robert, extrait d'un dossier d'exposition, 2014, sur son séjour en Italie

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par le Musée des Beaux-Arts et d’Archéologie de Besançon

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Dossier Grand Palais 2011 : le paysage à Rome

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Dossier Grand Palais 2011 : le paysage à Rome

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Musée d'Orsay, le voyage en peinture et photographie 

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Musée d'Orsay, le voyage en peinture et photographie 

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au XIX°

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Voir l'Italie et mourir. Photographie et peinture dans l'Italie du XIXe siècle

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Le " Grand Tour " n'a pas disparu après le siècle des Lumières et l'émergence d'autres modèles esthétiques que ceux de l'Italie.

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Une découverte majeure et inspirante (synthèse en une page)

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Visite-conférence de 10 mn

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[Visite audio] Exposition Hubert Robert au Louvre