{"id":657,"date":"2016-07-28T11:38:40","date_gmt":"2016-07-28T11:38:40","guid":{"rendered":"http:\/\/bale.ch\/journal\/?p=657"},"modified":"2018-09-22T16:44:47","modified_gmt":"2018-09-22T16:44:47","slug":"kunstmuseum-basel-rentree-2016","status":"publish","type":"post","link":"https:\/\/bale.ch\/journal\/kunstmuseum-basel-rentree-2016\/","title":{"rendered":"Kunstmuseum de B\u00e2le: ce qui vous attend \u00e0 la rentr\u00e9e"},"content":{"rendered":"<div id=\"c8130\" class=\"csc-default\">\n<h2>Magistrales gravures: l\u2019entreprise Hendrick Goltzius<\/h2>\n<p class=\"bodytext\">20.08.2016\u00a0\u2013 13.11.2016<\/p>\n<\/div>\n<div id=\"c8133\" class=\"csc-default\">\n<div class=\"csc-textpic csc-textpic-intext-left\">\n<div class=\"csc-textpic-text\">\n<figure id=\"attachment_664\" aria-describedby=\"caption-attachment-664\" style=\"width: 300px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-664\" src=\"https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f-300x296.jpg\" alt=\"Hendrick Goltzius (1558\u20131617), Pha\u00e9ton, 1588, Kunstmuseum Basel, Kupferstichkabinett\" width=\"300\" height=\"296\" srcset=\"https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f-300x296.jpg 300w, https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f-768x758.jpg 768w, https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f-1024x1011.jpg 1024w, https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f-50x50.jpg 50w, https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Goltzius_Hendrik_The_four_Falling_Disgracers_Phaethon_Gesamtansicht_b659ac9f.jpg 1621w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><figcaption id=\"caption-attachment-664\" class=\"wp-caption-text\">Hendrick Goltzius (1558\u20131617), Pha\u00e9ton, 1588, Kunstmuseum Basel, Kupferstichkabinett<\/figcaption><\/figure>\n<p class=\"bodytext\">A la fin du XVIe si\u00e8cle, les gravures d\u2019Hendrick Goltzius ravissaient le public. Aujourd\u2019hui encore, elles s\u00e9duisent par leur perfection technique et la complexit\u00e9 de leur composition. L\u2019exposition du Kupferstichkabinett pr\u00e9sente une s\u00e9lection de pr\u00e8s de 80 chefs-d\u2019oeuvre du ma\u00eetre d\u2019Haarlem, parmi lesquels des repr\u00e9sentations bibliques et mythologiques ainsi que des all\u00e9gories savantes. Goltzius occupe une place exceptionnelle dans l\u2019histoire de l\u2019art en raison de sa triple qualit\u00e9 d\u2019inventeur, graveur et \u00e9diteur. Dans chacun des ces domaines il se distingue par sa cr\u00e9ativit\u00e9 et son professionnalisme.<\/p>\n<p class=\"bodytext\">L\u2019exposition r\u00e9v\u00e8le que la r\u00e9putation de Goltzius n\u2019\u00e9tait pas seulement le fruit de son talent artistique. Avec la cr\u00e9ation de sa propre maison d\u2019\u00e9dition en 1582, l\u2019artiste devient non seulement ind\u00e9pendant entant que graveur mais il sait aussi tirer profit du potentiel d\u2019autres artistes. Goltzius collabore notamment avec des artistes r\u00e9put\u00e9s de son temps tels que Carel van Mander, Cornelis Corneliszoon van Haarlem et Bartholom\u00e4us Spranger, dont les sensibilit\u00e9s artistiques allaient avoir une influence d\u00e9terminante sur l\u2019oeuvre de Goltzius. Le sujet de pr\u00e9dilection de Goltzius est le corps nu, qu\u2019il met en sc\u00e8ne par des poses dynamiques et artistiques. En 1590\u201391, sa passion pour la mythologie le conduit en Italie, o\u00f9 il \u00e9tudie les chefs-d\u2019oeuvre de l\u2019Antiquit\u00e9 et des ma\u00eetres italiens. Goltzius emploie \u00e9galement plusieurs graveurs talentueux tels que Jacob Matham, Jan Muller et Jan Saenredam dont la mani\u00e8re d\u2019ex\u00e9cuter les oeuvres \u00e9tait aussi parfaite que celle qui avait rendu Goltzius c\u00e9l\u00e8bre. Ainsi, il est en mesure de couvrir un large \u00e9ventail de sujets et de th\u00e8mes tout en pr\u00e9servant un niveau technique \u00e9lev\u00e9. Goltzius fait preuve d\u2019une bonne vision strat\u00e9gique en d\u00e9diant ses gravures \u00e0 des personnalit\u00e9s haut plac\u00e9es et, en 1595, l\u2018empereur Rodolphe II lui conf\u00e8re le privil\u00e8ge imp\u00e9rial qui lui assure le monopole de l\u2019impression de son oeuvre.<\/p><div id=\"crieu-2369298473\" class=\"crieu-content crieu-entity-placement\"><script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-5271584769416742\" crossorigin=\"anonymous\"><\/script><ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5271584769416742\" \ndata-ad-slot=\"9321250718\" \ndata-ad-format=\"auto\"><\/ins>\n<script> \n(adsbygoogle = window.adsbygoogle || []).push({}); \n<\/script>\n<\/div>\n<p class=\"bodytext\">Le Kupferstichkabinett du Kunstmuseum Basel poss\u00e8de un fonds tr\u00e8s important de gravures de Goltzius qui sont pr\u00e9sent\u00e9es pour la premi\u00e8re fois dans leur ensemble. Ce fonds ancien provient en grande partie de la donation du peintre paysagiste et collectionneur b\u00e2lois Samuel Birmann (1793\u20131847).<\/p>\n<h2>Arch\u00e9ologie du sacr\u00e9: la figure du Christ aux XVe et XVIe si\u00e8cles<\/h2>\n<p class=\"bodytext\">10.09.2016\u00a0\u2013 08.01.2017<\/p>\n<p>En 1516, \u00c9rasme (1466-1536) publiait une nouvelle traduction du Nouveau Testament \u00e0 B\u00e2le. \u00c0 l\u2019occasion des 500 ans de cette parution illustre, les mus\u00e9es de la ville organisent plusieurs expositions au cours de l\u2019ann\u00e9e 2016. Le Kunstmuseum Basel consacre \u00e0 l\u2019\u00e9v\u00e9nement une exposition sur l\u2019image du Christ qui a marqu\u00e9 \u00c9rasme et son \u00e9poque, et sur sa transformation. Une s\u00e9lection de pr\u00eats d\u2019\u0153uvres et un grand nombre de pi\u00e8ces issues des collections du mus\u00e9e, rarement expos\u00e9es au public, offrent un vaste panorama du sentiment de pi\u00e9t\u00e9 de la fin du Moyen \u00c2ge jusqu\u2019\u00e0 l\u2019\u00e9poque moderne. L\u2019appel d\u2019\u00c9rasme d\u2019op\u00e9rer un retour au t\u00e9moignage christologique des \u00c9vangiles ne peut se comprendre qu\u2019au regard de cette tradition visuelle prot\u00e9iforme nourrie de multiples sources.<\/p>\n<div class=\"csc-header csc-header-n1\">\n<h2>Pollock figuratif<\/h2>\n<\/div>\n<p class=\"bodytext\">02.10.2016\u00a0\u2013 22.01.2017<\/p>\n<figure id=\"attachment_658\" aria-describedby=\"caption-attachment-658\" style=\"width: 550px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-658\" src=\"https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Pollock_Stenographic_Figure.jpg\" alt=\"Pollock, Jackson (1912-1956): Stenographic Figure, 1942. New York, Museum of Modern Art (MoMA). \u00a9 2015. Digital image, The Museum of Modern Art, New York\/Scala, Florence.\" width=\"550\" height=\"392\" srcset=\"https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Pollock_Stenographic_Figure.jpg 550w, https:\/\/bale.ch\/journal\/wp-content\/uploads\/2016\/07\/Pollock_Stenographic_Figure-300x214.jpg 300w\" sizes=\"auto, (max-width: 550px) 100vw, 550px\" \/><figcaption id=\"caption-attachment-658\" class=\"wp-caption-text\">J. Pollock (1912-1956): Stenographic Figure, 1942. New York, Museum of Modern Art. \u00a9 2015 MoMa, New York\/Scala, Florence.<\/figcaption><\/figure>\n<p class=\"bodytext\">\u00abLorsque vous peignez \u00e0 partir de l\u2019inconscient, les figures sont pr\u00eates \u00e0 \u00e9merger\u00bb (en version originale\u00a0: \u00abWhen you\u2019re painting out of your unconscious, figures are bound to emerge\u00bb), d\u00e9clarait Jackson Pollock lors d\u2019un entretien c\u00e9l\u00e8bre avec Selden Rodman en 1956. G\u00e9n\u00e9ralement, le peintre am\u00e9ricain est plut\u00f4t associ\u00e9 \u00e0 ses <i>drip paintings<\/i> abstraits qu\u2019\u00e0 son \u0153uvre figurative r\u00e9alis\u00e9e auparavant. Bien que celle-ci soit \u00e9tendue et d\u2019une port\u00e9e consid\u00e9rable, elle demeure m\u00e9connue, tout comme les peintures figuratives cons\u00e9cutives \u00e0 la p\u00e9riode dripping. La grande exposition temporaire organis\u00e9e au Kunstmuseum Basel est la premi\u00e8re du genre dans le monde \u00e0 explorer ce fascinant chapitre de l\u2019histoire de l\u2019art.<\/p>\n<p class=\"bodytext\">En 1949, Pollock acc\u00e8de du jour au lendemain au statut de superstar gr\u00e2ce \u00e0 un reportage dans le magazine Life intitul\u00e9 \u00abEst-il le plus grand peintre vivant des \u00c9tats-Unis?\u00bb. Ses tableaux grands formats non figuratifs sont en phase avec l\u2019\u00e9poque\u00a0: les \u00c9tats-Unis\u00a0\u00e9rigent alors l\u2019art abstrait en idiome de l\u2019Am\u00e9rique lib\u00e9rale et d\u00e9mocratique. Dans l\u2019opinion publique, son \u0153uvre figurative est rel\u00e9gu\u00e9e au second plan.<\/p>\n<p class=\"bodytext\">L\u2019exposition permet de d\u00e9couvrir l\u2019\u00e9volution de l\u2019art figuratif de Pollock \u00e0 partir du milieu des ann\u00e9es 1930 jusqu\u2019aux ann\u00e9es 1950. Au total, pr\u00e8s de 100 peintures et travaux sur papier sont pr\u00e9sent\u00e9s aux c\u00f4t\u00e9s d\u2019\u0153uvres majeures issues de collections priv\u00e9es et de pi\u00e8ces d\u2019exception de collections provenant de mus\u00e9es d\u2019Europe, du Japon, d\u2019Australie et des Etats-Unis.<\/p>\n<div class=\"csc-header csc-header-n1\">\n<h2>Jo\u00eblle Tuerlincks<\/h2>\n<\/div>\n<p class=\"bodytext\">15.10.2016\u00a0\u2013 26.02.2017<\/p>\n<p>L\u2019important travail d\u2019archivage r\u00e9alis\u00e9 par Jo\u00eblle Tuerlinckx est \u00e0 l\u2019origine de nombreux travaux de cette artiste n\u00e9e en 1958 \u00e0 Bruxelles. Objets trouv\u00e9s, photographies de journaux et choses pr\u00e9lev\u00e9es en provenance du quotidien viennent s\u2019ajouter \u00e0 ses propres dessins, collages, photos et textes. Au moyen d\u2019une m\u00e9thodologie artistique d\u00e9crite dans un \u00ab\u00a0lexique\u00a0\u00bb, l\u2019artiste transforme la r\u00e9alit\u00e9 et la signification des objets en modifiant mat\u00e9riau, \u00e9chelle et mode de perception. Elle a recours \u00e0 des proc\u00e9d\u00e9s sculpturaux et picturaux tels que la copie, la repr\u00e9sentation, l\u2019agrandissement, la mise en couleur, le scanner et l\u2019impression \u2013 ou la r\u00e9impression \u2013, mais aussi \u00e0 des techniques de pr\u00e9sentation mus\u00e9ales et d\u2019archivage. Dans ses expositions, Tuerlinckx r\u00e9unit des \u00e9l\u00e9ments dispos\u00e9s aux murs et sur le sol sous la forme d\u2019arrangements polyphoniques qui placent des objets d\u2019art face \u00e0 des questionnements philosophiques tels que de l\u2019essence du temps ou du langage.<\/p>\n<div class=\"csc-header csc-header-n1\">\n<h1 class=\"csc-firstHeader\">Catharina van Eetvelde<\/h1>\n<\/div>\n<h2>Catharina van Eetvelde: ilk_<\/h2>\n<p class=\"bodytext\">26.11.2016\u00a0\u2013 12.03.2017<\/p>\n<p>N\u00e9e en 1967 \u00e0 Gand, l\u2019artiste Catharina van Eetvelde vit actuellement \u00e0 Paris. Le dessin et le r\u00f4le qu\u2019il exerce dans le monde contemporain occupent une place centrale dans son travail. La pr\u00e9cision et l\u2019\u00e9conomie caract\u00e9risent ses travaux sur papier qui \u00e9voquent des plans et des repr\u00e9sentations scientifiques. Van Eetvelde accorde tout autant d\u2019importance aux lignes dont l\u2019existence n\u2019est que virtuelle\u00a0: trac\u00e9es \u00e0 l\u2019aide d\u2019un stylet sur une palette graphique, celles-ci prennent vie sous forme de donn\u00e9es num\u00e9riques et sont visibles sur l\u2019\u00e9cran pendant un temps limit\u00e9 conform\u00e9ment \u00e0 un ordre d\u2019ex\u00e9cution. \u00c0 travers l\u2019\u00e9tude d\u2019autres formes d\u2019existence, comme la nature qui l\u2019entoure ou la mati\u00e8re m\u00eame, elle s\u2019int\u00e9resse \u00e9galement au potentiel spatial et haptique des lignes, sous la forme de collages et d\u2019installations r\u00e9alis\u00e9s \u00e0 l\u2019aide de papier, de feutre et de fil, de c\u00e2bles et de piles.<\/p>\n<p>Site officiel du <a href=\"http:\/\/www.kunstmuseumbasel.ch\/fr\/home\/\" target=\"_blank\" rel=\"noopener\">Kunstmuseum Basel<\/a>\u00a0\/ Mus\u00e9e d&rsquo;art de B\u00e2le\u00a0(en fran\u00e7ais)<\/p>\n<p>Kunstmusueum Basel: nouveau b\u00e2timent. Photo: Julian Salinas.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"crieu-2481723822\" class=\"crieu-apres-le-contenu crieu-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;\"><script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-5271584769416742\" crossorigin=\"anonymous\"><\/script><ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5271584769416742\" \ndata-ad-slot=\"9321250718\" \ndata-ad-format=\"auto\"><\/ins>\n<script> \n(adsbygoogle = window.adsbygoogle || []).push({}); \n<\/script>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Magistrales gravures: l\u2019entreprise Hendrick Goltzius 20.08.2016\u00a0\u2013 13.11.2016 A la fin du XVIe si\u00e8cle, les gravures d\u2019Hendrick Goltzius ravissaient le public. Aujourd\u2019hui encore, elles s\u00e9duisent par leur perfection technique et la <a href=\"https:\/\/bale.ch\/journal\/kunstmuseum-basel-rentree-2016\/\" class=\"read-more button-fancy -red\"><span class=\"btn-arrow\"><\/span><span class=\"twp-read-more text\">Continuer la lecture<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":660,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,7,10],"tags":[61,60,62,36],"class_list":["post-657","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-bale","category-culture","tag-art-contemporain","tag-bale","tag-kunstmuseum-basel","tag-musee"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kunstmuseum de B\u00e2le: ce qui vous attend \u00e0 la rentr\u00e9e - Journal de B\u00e2le et Gen\u00e8ve<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bale.ch\/journal\/kunstmuseum-basel-rentree-2016\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kunstmuseum de B\u00e2le: ce qui vous attend \u00e0 la rentr\u00e9e - Journal de B\u00e2le et Gen\u00e8ve\" \/>\n<meta property=\"og:description\" content=\"Magistrales gravures: l\u2019entreprise Hendrick Goltzius 20.08.2016\u00a0\u2013 13.11.2016 A la fin du XVIe si\u00e8cle, les gravures d\u2019Hendrick Goltzius ravissaient le public. 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