{"id":3013,"date":"2022-12-07T18:04:52","date_gmt":"2022-12-07T18:04:52","guid":{"rendered":"https:\/\/www.semen-l.org\/?p=3013"},"modified":"2024-02-07T18:19:48","modified_gmt":"2024-02-07T18:19:48","slug":"3013","status":"publish","type":"post","link":"http:\/\/www.semen-l.org\/?p=3013","title":{"rendered":"\u00c9milie S\u00c9RIS, Solus homo nudus, solum animal sapiens. Th\u00e9ories humanistes du nu (XVe-XVIe si\u00e8cles), Turnhout, Brepols, 2021 (Florence Vuilleumier Laurens)"},"content":{"rendered":"

\u00c9milie S\u00c9RIS, Solus homo nudus, solum animal sapiens. Th\u00e9ories humanistes du nu (XVe-XVIe si\u00e8cles)<\/em>, coll. \u00ab H\u03a6R. Philosophie hell\u00e9nistique et romaine \u00bb, Turnhout, Brepols, 2021, 499 p. + 31 planches couleur.<\/strong><\/p>\n

Pendant du colloque organis\u00e9 et publi\u00e9 par la m\u00eame autrice \u2014 dont nous ne parlerons pas : Le Nu dans la litt\u00e9rature de la Renaissance<\/em>, coll. \u00ab Renaissance \u00bb 36, Tours, P.U. Fran\u00e7ois-Rabelais, 2022, 288 p. : autour de quatre aspects principaux illustrant la question (Mod\u00e8les figur\u00e9s, Mod\u00e8les litt\u00e9raires, Mis\u00e8res et dignit\u00e9 de l\u2019homme, \u00c9ros Pan et Hym\u00e9n\u00e9e et la Fabrique du nu<\/em>), le riche et savant ouvrage pr\u00e9sent\u00e9 ici a l\u2019ambition d\u2019en d\u00e9gager la complexit\u00e9 des fondements th\u00e9oriques.
\nL\u2019Avant-propos rend hommage au De Corporis humani harmonia<\/em> (1555) de Jean Ly\u00e8ge \u2014 adaptation versifi\u00e9e du trait\u00e9 de physiologie de Galien (De usu partium<\/em>) \u2014, sorte de pierre milliaire qui marque l\u2019hermeneutical turn<\/em> du Concile de Trente (e.g. les trait\u00e9s de Jan van der Meulen) mettant globalement terme \u00e0 l\u2019Humanisme militant de la dignitas<\/em> hominis<\/em>. L\u2019introduction (64 p.), atteste, en particulier, que l\u2019adjectif substantiv\u00e9 absent du latin classique \u00e9merge de fa\u00e7on technique au livre II du De Pictura<\/em> (1435) de Leon Battista Alberti, lorsqu\u2019il s\u2019agit de peindre un nu (in nudo pingendo<\/em>) en recouvrant de peau et de chair les os et les muscles \u2014 inversant paradoxalement la d\u00e9nudation du corps par un \u00ab v\u00eatement \u00bb le rendant propre \u00e0 \u00eatre repr\u00e9sent\u00e9 et pens\u00e9 dans son existence terrestre. Les trattatisti post\u00e9rieurs reprendront le sch\u00e9ma d\u2019habillage du nu. Celui-ci est analys\u00e9 sous les trois corps d\u2019une ambitieuse architecture dont les sources anciennes constituent les fondements :<\/p>\n

D\u2019abord la Sym\u00e9trie (microcosme), source de l\u2019harmonie du corps selon les Anciens (Vitruve), se prolonge \u00e0 la Renaissance avec Cennini, Ghiberti, Alberti etc. pour aboutir \u00e0 L\u00e9onard ; le n\u00e9oplatonisme ficinien propage l\u2019influence du Tim\u00e9e<\/em>, qui \u00ab harmonise \u00bb \u00e0 son tour les trait\u00e9s post\u00e9rieurs de Gauricus \u00e0 D\u00fcrer (commensus, diuina proportio, concordia<\/em>\u2026) ; mais c\u2019est sans compter l\u2019influence de l\u2019enseignement padovan d\u2019Aristote, selon qui la beaut\u00e9 s\u2019adoucit loin de la splendeur par l\u2019union de la belle ordonnance des parties avec la couleur, sous la banni\u00e8re d\u2019un Nifo, puis Pino, Dolce et Vincenzo Danti (106 p.).
\nEnsuite l\u2019Anatomie (organisme) : partant des th\u00e9ories m\u00e9dicales antiques d\u2019Hippocrate \u00e0 Galien, dont se s\u00e9parera l\u2019exercice du corps (hygieia<\/em>), illustr\u00e9 en 1569 par le De arte gymnastica<\/em> de Mercuriale ; cependant un tel d\u00e9tachement, propice \u00e0 la repr\u00e9sentation de l\u2019ext\u00e9rieur du corps (fabrique), ne saura se faire sans retrouver, somme toute, ce que sera la compositio membrorum<\/em> albertienne (De Pictura<\/em>, II, 37-38), suivi par Ghiberti, L\u00e9onard, Vasari : belle machine ! (Cellini, Danti). L\u2019agencement des membres et les exercices autorisent le mouvement du corps, local par la sensation et le d\u00e9sir propre \u00e0 l\u2019animal (plus la facult\u00e9 de repr\u00e9sentation humaine), r\u00e9alisation de la puissance dans la chose, dont on appr\u00e9ciera la vari\u00e9t\u00e9 (Alberti, L\u00e9onard, Gauricus, Vasari), la disposition (contraposto, moderatio, ponderazione<\/em>), le status obliquus<\/em> pour aboutir \u00e0 la serpentine. Le corps nu (en mouvement ou non) ne saurait \u00eatre priv\u00e9 de la gr\u00e2ce, qu\u2019il soit jeune ou \u00e2g\u00e9, fin ou muscl\u00e9, agr\u00e9able ou effrayant (terrible) en raccourci ou plong\u00e9 dans le chiaroscuro<\/em> : ce que les toujours m\u00eames trait\u00e9s r\u00eaveront \u00eatre accompli au sein d\u2019une aurea mediocritas<\/em> (118 p.).
\nEnfin, la Physiognomonie<\/em> (signe de l\u2019\u00e2me) poursuit le m\u00eame cheminement depuis l\u2019Antiquit\u00e9, puisque l\u2019expression (tir\u00e9e du De morbis<\/em> d\u2019Hippocrate) retenue ici est celle des Physiognomonica<\/em> du Ps.-Aristote, adapt\u00e9es en latin (apr\u00e8s Pol\u00e9mon-Adamantius) au XIIIe si\u00e8cle ; la Renaissance en d\u00e9gagera la peinture des caract\u00e8res dans la mesure o\u00f9 l\u2019\u00e9tat de l\u2019\u00e2me modifie l\u2019\u00e9tat du corps et d\u2019abord en suivant une m\u00e9thode zoologique fixant des types permanents (L\u00e9onard : uomo bestiale<\/em> ; La Porta : timidus\/fortis uir<\/em>) ; une seconde m\u00e9thode dite \u00ab ethnologique \u00bb use des caract\u00e9ristiques somatiques des races humaines et des peuples (Gauricus, D\u00fcrer), anticipant l\u2019Examen<\/em> de Ingenios<\/em> de Huarte (1603) ; troisi\u00e8me : la comparaison des sexes (Gauricus, Pino) ; quatri\u00e8me : \u00e9thologique (\u03c0\u03ac\u03d1\u03b7\u03bc\u03b1) introduisant (e.g. Gauricus, De sculptura<\/em>) \u00e0 l\u2019expression des passions depuis les pertubationes animi<\/em> d\u2019Alberti et les accidenti mentali<\/em> de L\u00e9onard jusqu\u2019aux passions port\u00e9es par la force \u00e9motionnelle suscit\u00e9e par la couleur ; ainsi pour le coloris de la chair : teint chez les Anciens, mais chez les Italiens la vaghezza<\/em>, la morbidezza<\/em> ordonn\u00e9es par la regola del colore<\/em> chez un Lomazzo (119 p.).
\nEn conclusion, les trait\u00e9s humanistes sur l\u2019art \u00e9laborent un concept du nu tripartite (corps\/esprit\/\u00e2me) mais unifi\u00e9 par le mouvement au sein de la figure humaine selon les cat\u00e9gories (statuts) de forma, figura et species<\/em>. Suivent une bibliographie s\u00e9lective et de belles illustrations en couleur. Le lecteur diligent pourra regretter l\u2019absence d\u2019un Index nominum<\/em> \u2014 mais le volume de l\u2019ouvrage explique cela.<\/p>\n

Florence Vuilleumier Laurens<\/p>\n

Source : Cette recension a \u00e9t\u00e9 publi\u00e9e dans le Bulletin de liaison n\u00b020 (d\u00e9cembre 2022)<\/a> de la SEMEN-L (p. 45-46).<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c9milie S\u00c9RIS, Solus homo nudus, solum animal sapiens. Th\u00e9ories humanistes du nu (XVe-XVIe si\u00e8cles), coll. \u00ab H\u03a6R. Philosophie hell\u00e9nistique et romaine \u00bb, Turnhout, Brepols, 2021, 499 p. + 31 planches couleur. Pendant du colloque organis\u00e9 et publi\u00e9 par la m\u00eame … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":26,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1825],"tags":[1877,813,92,1883,248,1885,1830,1882,1874,1881,130,1879,1871,309,1060,1875,1884,698,1887,144,1872,1880,723,291,142,223,100,1873,1886,1876,1870,1878,1697],"class_list":["post-3013","post","type-post","status-publish","format-standard","hentry","category-recensions","tag-adamantius","tag-aristote-pseudo","tag-art","tag-cennini-cennino","tag-corps","tag-danti-vincenzo","tag-de-arte-gymnastica-mercuriale","tag-de-corporis-humani-harmonia-lyege","tag-de-pictura-alberti","tag-de-usu-partium-galien","tag-lodovico-dolce","tag-durer-albrecht","tag-ethologie","tag-ficin-marsile","tag-galien","tag-gauricus-lucas","tag-ghiberti-lorenzo","tag-hippocrate","tag-huarte-juan","tag-humanisme","tag-lomazzo-giovanni-paolo","tag-lyege-jean","tag-mercuriale-girolamo","tag-neoplatonisme","tag-nifo-agostino","tag-nu","tag-peinture","tag-physiognomonica-pseudo-aristote","tag-physiognomonie","tag-polemon","tag-sexe","tag-symetrie","tag-zoologie"],"yoast_head":"\n\u00c9milie S\u00c9RIS, Solus homo nudus, solum animal sapiens. 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