{"id":104646,"date":"2022-05-26T12:36:50","date_gmt":"2022-05-26T10:36:50","guid":{"rendered":"https:\/\/blog.artsupp.com\/recuperees-les-oeuvres-perdues-cleopatre-et-antoine-reviennent-au-palais-barberini\/"},"modified":"2022-05-26T12:36:50","modified_gmt":"2022-05-26T10:36:50","slug":"recuperees-les-oeuvres-perdues-cleopatre-et-antoine-reviennent-au-palais-barberini","status":"publish","type":"post","link":"https:\/\/blog.artsupp.com\/fr\/recuperees-les-oeuvres-perdues-cleopatre-et-antoine-reviennent-au-palais-barberini\/","title":{"rendered":"R\u00e9cup\u00e9r\u00e9es les \u0153uvres perdues : Cl\u00e9op\u00e2tre et Antoine reviennent au Palais Barberini"},"content":{"rendered":"\n

Palazzo Barberini<\/a> <\/strong>enrichit sa collection avec deux nouvelles \u0153uvres merveilleuses<\/strong>: <\/p>\n\n\n\n

La mort de Cl\u00e9op\u00e2tre<\/a> <\/strong>de Giovanni Lanfranco <\/strong>et le Portrait du Cardinal Antonio Barberini <\/a><\/strong>de Simone Cantarini. <\/strong><\/p>\n\n\n\n

La mort de Cl\u00e9op\u00e2tre<\/strong> <\/h2>\n\n\n\n

Command\u00e9e \u00e0 Giovanni Lanfranco<\/strong> par Marco Mazzoli<\/strong>, musicien et compositeur au service du Cardinal Antonio Barberini.<\/strong><\/p>\n\n\n\n

Mazzoli<\/strong>, alors qu’il travaillait pour les Barberini<\/strong>, devint le professeur de musique de la fille de Lanfranco<\/strong>, peintre d’origine parmense. <\/p>\n\n\n\n

En \u00e9change de ses le\u00e7ons, il commanda \u00e0 l’artiste pas moins de trois \u0153uvres : V\u00e9nus jouant de la harpe <\/strong>– appartenant \u00e0 la m\u00eame famille Barberini<\/strong>, Arriv\u00e9e d’Erminia parmi les bergers <\/strong>– aujourd’hui \u00e0 la Galleria Capitolina de Rome – et la Mort de Cl\u00e9op\u00e2tre<\/strong>. <\/p>\n\n\n\n

Cette derni\u00e8re, \u0153uvre au parcours assez tumultueux, a \u00e9t\u00e9 r\u00e9alis\u00e9e probablement en 1630 et revient aujourd’hui \u00e0 Palazzo Barberini<\/strong>, se r\u00e9unissant \u00e9galement avec la V\u00e9nus<\/strong>, d\u00e9j\u00e0 expos\u00e9e dans les salles du mus\u00e9e.<\/p>\n\n\n\n

Mazzoli, <\/strong>comme nous l’apprend son testament dat\u00e9 du 7 Janvier 1662<\/strong>, l\u00e9gua l’\u0153uvre \u00e0 la famille Barberini <\/strong>en signe de reconnaissance pour la bienveillance et l’hospitalit\u00e9 qu’ils lui t\u00e9moign\u00e8rent de son vivant. <\/p>\n\n\n\n

Par la suite, celle-ci entra d’abord en possession de la <\/strong>famille Colonna Sciarra<\/strong>, se d\u00e9pla\u00e7ant dans leur palais, pour ensuite passer dans diverses collections priv\u00e9es. <\/p>\n\n\n\n

Aujourd’hui, avec l’achat par l’\u00c9tat <\/strong>\u00e0 la Brun Fine Art <\/strong>de Milano<\/strong>, elle revient enfin \u00e0 la maison. <\/p>\n\n\n\n

\"\"
La mort de Cl\u00e9op\u00e2tre, Lanfranco, 1630<\/strong><\/figcaption><\/figure><\/div>\n\n\n\n
\n
ALLER \u00c0 L’\u0152UVRE<\/a><\/div>\n<\/div>\n\n\n\n

L\u2019\u0153uvre<\/strong> <\/h2>\n\n\n\n

Ici, Lanfranco<\/strong> joue surtout sur l’ambigu\u00eft\u00e9 de la figure de Cl\u00e9op\u00e2tre, caract\u00e9ristique tr\u00e8s fr\u00e9quente \u00e9galement dans d’autres portraits de la reine d’\u00c9gypte<\/strong> peints durant le XVIIe si\u00e8cle.<\/strong><\/p>\n\n\n\n

Dans le tableau, Cl\u00e9op\u00e2tre<\/strong> est souffrante mais maintient en m\u00eame temps une silhouette sensuelle, soulignant \u00e9galement le st\u00e9r\u00e9otype de beaut\u00e9 l\u00e9gendaire<\/strong> pour lequel son personnage \u00e9tait d\u00e9j\u00e0 c\u00e9l\u00e8bre \u00e0 l’\u00e9poque et est ensuite pass\u00e9 \u00e0 l’histoire.<\/p>\n\n\n\n

Au centre de l’\u0153uvre, il n’y a qu’elle, repr\u00e9sent\u00e9e par Lanfranco<\/strong> avec un corps sculptural presque comme s’il s’agissait d’un buste, plac\u00e9e sur un fond presque absent, sauf pour quelques \u00e9l\u00e9ments esquiss\u00e9s et pour le contraste avec le drap rouge dans lequel elle est envelopp\u00e9e, annonciateur de la mort imminente : la sc\u00e8ne repr\u00e9sente en effet le moment culminant de la trag\u00e9die, celui du suicide de Cl\u00e9op\u00e2tre.<\/p>\n\n\n\n

Le portrait du Cardinal Antonio Barberini<\/strong><\/h2>\n\n\n\n

La deuxi\u00e8me \u0153uvre<\/strong> \u00e0 enrichir les salles de Palazzo Barberini,<\/strong> est le portrait du Cardinal Antonio Barberini<\/strong>, r\u00e9alis\u00e9 en 1631 par Simone Cantarini<\/strong>, peintre pesarese appartenant \u00e0 l’\u00e9cole bolonaise.<\/p>\n\n\n\n

Le tableau est expos\u00e9 dans la salle de la Divine Sapienza <\/strong>\u00e0 c\u00f4t\u00e9 des portraits, r\u00e9alis\u00e9s par Gian Lorenzo Bernini, <\/strong>de Urbain VII<\/strong> et des neveux Giuliano Finelli, Carlo Maratti, Lorenzo Ottoni.<\/strong> <\/p>\n\n\n\n

Antonio Barberini <\/strong>(1607-1671), membre de la famille \u00e9ponyme, \u00e9tait le fils de Carlo Barberini<\/strong> et de Costanza Magalotti<\/strong>, ainsi que le neveu, du c\u00f4t\u00e9 paternel, de Pape Urbain VIII<\/strong>.<\/p>\n\n\n\n

De son vivant, le  Cardinal Barberini<\/strong> fut un personnage historique important, repr\u00e9sentant l’une des familles les plus puissantes et influentes tant \u00e0 Rome que dans les murs du Vatican, anim\u00e9 par une personnalit\u00e9 forte et r\u00e9solue. <\/p>\n\n\n\n

\"\"
Portrait du Cardinal Antonio Barberini, Simone Cantarini<\/strong>, 1631<\/strong><\/figcaption><\/figure><\/div>\n\n\n\n
\n
ALLER \u00c0 L’\u0152UVRE<\/a><\/div>\n<\/div>\n\n\n\n

L\u2019\u0153uvre <\/strong><\/h2>\n\n\n\n

Le portrait, \u00e9tude pr\u00e9paratoire sur papier \u00e0 partir de laquelle furent ensuite r\u00e9alis\u00e9es les deux versions sur toile – dont une conserv\u00e9e \u00e0 la Galleria Corsini – <\/strong>le montre jeune alors qu’il exer\u00e7ait la fonction de d\u00e9l\u00e9gu\u00e9 papal \u00e0 Pesaro<\/strong> lors du passage du Duch\u00e9 d’Urbino \u00e0 l’\u00c9glise. <\/p>\n\n\n\n

L’\u0153uvre transmet exactement l’\u00e2me de l’homme avec un visage calme et conscient de son r\u00f4le et de son influence.<\/p>\n\n\n\n

Cantarini<\/strong>, dans ce qui est consid\u00e9r\u00e9 comme l’un de ses travaux les plus embl\u00e9matiques, repr\u00e9sente le visage du Cardinal presque de mani\u00e8re impressionniste, obtenant un r\u00e9sultat pour ainsi dire \u201cvif\u201d, comme le r\u00e9v\u00e8le \u00e9galement l\u2019attention aux d\u00e9tails les plus petits, notamment l\u2019allusion au l\u00e9ger strabisme.<\/p>\n\n\n\n

Une op\u00e9ration culturelle d’une importance fondamentale<\/strong><\/h2>\n\n\n\n

Les deux \u0153uvres, r\u00e9acquises par l’\u00c9tat Italien<\/strong>, ont \u00e9t\u00e9 restitu\u00e9es au mus\u00e9e selon ce qui a \u00e9t\u00e9 d\u00e9fini comme une op\u00e9ration culturelle d’une importance fondamentale<\/strong>.<\/p>\n\n\n\n

Un \u00e9v\u00e9nement similaire est la preuve de la mani\u00e8re dont le soutien<\/strong> aux institutions culturelles<\/strong> est en g\u00e9n\u00e9ral fondamental pour permettre \u00e0 des chefs-d’\u0153uvre similaires de revenir \u00e0 \u00eatre appr\u00e9ci\u00e9s par le public.<\/p>\n\n\n\n

Souvent, c’est justement le public qui peut faire la diff\u00e9rence, en participant concr\u00e8tement aux campagnes de Fundraising<\/strong> promues par les mus\u00e9es italiens.<\/p>\n\n\n\n

Comme l’enseigne l’histoire d’Antonio et Cl\u00e9op\u00e2tre, l’objectif est d’offrir une offre culturelle toujours plus partag\u00e9e et riche.<\/strong><\/p>\n\n\n\n

Voulez-vous soutenir les institutions culturelles ?<\/strong><\/h2>\n\n\n\n
\n
D\u00c9COUVREZ LE FUNDRAISING AVEC ARTSUPP<\/a><\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Palazzo Barberini enrichit sa collection avec deux nouvelles \u0153uvres merveilleuses:  La mort de Cl\u00e9op\u00e2tre de Giovanni Lanfranco et le Portrait du Cardinal Antonio Barberini de Simone Cantarini.  La mort de Cl\u00e9op\u00e2tre Command\u00e9e \u00e0 Giovanni Lanfranco par Marco Mazzoli, musicien et compositeur au service du Cardinal Antonio Barberini. Mazzoli, alors qu’il travaillait pour les Barberini, devint …<\/p>\n<\/div><\/div>","protected":false},"author":12,"featured_media":86251,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1287],"tags":[2452,1324,1360,1435,1361],"class_list":["post-104646","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artsupp-vous-raconte-histoire-de-lart-et-artistes-fr","tag-collecte-de-fonds-fr","tag-musees-fr","tag-musees-a-rome-fr","tag-palais-barberini-fr","tag-rome-fr"],"acf":[],"yoast_head":"\nR\u00e9cup\u00e9r\u00e9es les \u0153uvres perdues : Cl\u00e9op\u00e2tre et Antoine reviennent au Palais Barberini - Artsupp<\/title>\n<meta name=\"description\" content=\"Le Palais Barberini acquiert deux nouvelles \u0153uvres : la mort de Cl\u00e9op\u00e2tre de Lanfranco et le Portrait du Cardinal Antoine Barberini de Cantarini.\" \/>\n<meta name=\"robots\" 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