{"id":5743,"date":"2025-08-03T06:01:25","date_gmt":"2025-08-03T04:01:25","guid":{"rendered":"https:\/\/editionsjou.net\/?p=5743"},"modified":"2025-08-03T06:01:25","modified_gmt":"2025-08-03T04:01:25","slug":"137-tout-autour-de-vermeer-10-par-christine-lapostolle","status":"publish","type":"post","link":"https:\/\/revuetina.editionsjou.net\/?p=5743","title":{"rendered":"#137\/ Tout autour de Vermeer (10) par Christine Lapostolle"},"content":{"rendered":"\n

Les traces d’un voyage effectu\u00e9 il y a des ann\u00e9es pour voir toutes les peintures de Vermeer se r\u00e9v\u00e8lent au contact d’une situation, d’une parole, d’une sensation. Il en d\u00e9coule parfois de courts textes dont certains para\u00eetront ici.<\/p>\n\n\n\n

Au bout du vieux canal (Oude Delft), au port triangulaire de Zuildkolk, l\u00e0 o\u00f9 on pouvait, \u00e0 l’\u00e9poque de Vermeer, s\u2019embarquer pour une destination plus ou moins lointaine, des enfants font du skate et du roller \u00e0 c\u00f4t\u00e9 des panneaux pour touristes, abim\u00e9s, mal visibles, qui indiquent l\u2019endroit d\u2019o\u00f9 aurait \u00e9t\u00e9 peinte la Vue de Delft<\/em>.
Vermeer a toute sa vie habit\u00e9 Delft o\u00f9 il semble qu’il ait joui d’une certaine notabilit\u00e9, il ne devait pas lui \u00eatre facile de fl\u00e2ner sans but dans les rues et le long des canaux sans tomber sur une personne de connaissance dont la conversation vous ram\u00e8ne aussit\u00f4t aux affaires courantes.
Vermeer a consacr\u00e9 deux peintures \u00e0 sa ville : un petit tableau, la ruelle<\/em>, qui en montre un d\u00e9tail, une maison vue depuis la rue avec, portes ouvertes, aper\u00e7u sur l’animation du quotidien : la cour, le trottoir, les enfants jouant, les femmes vaquant \u00e0 leur activit\u00e9 domestique ; un grand tableau : La vue de Delft<\/em>. Toutes les autres peintures montrent des int\u00e9rieurs.
S’installer pour peindre en surplomb de cette berge o\u00f9 on placera des comm\u00e8res qui bavardent, des passagers attendant un embarquement. Un emplacement d’o\u00f9 le spectateur n’aura pas d’autre moyen que ses yeux pour atteindre la ville qui se dessine en face. Il restera \u00e0 l’ext\u00e9rieur. Il pourra contempler le ciel qui occupe les deux tiers du tableau, le d\u00e9tail d’une dentelle d’\u00e9difices que celui qui peint conna\u00eet parfaitement, maison par maison. On est assez proche, mais il n’y a pas de pont pour enjamber le canal. On voit deux portes, la porte de Schiedam et la porte de Rotterdam. Les personnages situ\u00e9s sur l’autre berge sont des petites taches insignifiantes qu’il faut chercher. Proche ou lointain? \u2013 quel mot pourrait dire les deux \u00e0 la fois ? Stable et flottant.
Sur la gauche, le long toit ocre rouge des entrep\u00f4ts de l’Oost-Indisch Huis, la maison des Indes orientales, qui relie Delft \u00e0 l’Asie, dit la richesse de la ville \u00e0 ceux qui la connaissent. S’il avait travaill\u00e9 comme ses cousins pour la compagnie des Indes, la plus puissante organisation commerciale du monde \u00e0 son \u00e9poque, Vermeer aurait eu un autre destin. Peut-\u00eatre aurait-il disparu dans un voyage lointain laissant \u00e0 la post\u00e9rit\u00e9 quelques compositions de fleurs exotiques et d’animaux \u00e9tranges.
Peindre la ville dans cette fra\u00eecheur douce d\u2019une journ\u00e9e \u00e0 temps instable qui se l\u00e8ve. D\u00e9ployer pour une fois, pour une seule fois, ce grand ciel, qui dans les autres peintures n’est l\u00e0 qu’en contrepoint, invisible derri\u00e8re la fen\u00eatre qui fait entrer la lumi\u00e8re sans livrer jamais d’image du dehors. Ciel immense, g\u00e9n\u00e9reux, o\u00f9 voyagent des nuages massifs qui sont le contraire du ruban des architectures vibrantes \u00e9gren\u00e9es le long de l’eau.
Horizontalit\u00e9, harmonie, \u00e9quilibre.
L’acuit\u00e9 jubilatoire que procurent les id\u00e9es, les envies, les images qui vous emplissent au fl d\u2019une promenade fra\u00eeche dans un matin solitaire. Puis quelqu\u2019un vous touche l\u2019\u00e9paule, \u00abbelle journ\u00e9e\u00bb, dit-il et il vous parle d\u2019une affaire qu\u2019il va falloir discuter lors de la prochaine r\u00e9union du syndic, une affaire qui a son importance, et vous redescendez sur terre.
Nous sommes au sud de la ville, son visage discr\u00e8tement portuaire et commercial ne trahit rien de la catastrophe qui quelques ann\u00e9es plus t\u00f4t en a d\u00e9truit la partie nord est, sans doute encore en reconstruction au moment ou Vermeer peint son tableau: l’explosion de la poudri\u00e8re, le 12 octobre 1654 , \u00e0 10h15 du matin, 30 tonnes de poudre, des centaines de morts jamais exactement d\u00e9nombr\u00e9s, parmi lesquels le peintre Carel Fabritius, ph\u0153nix des cendres duquel, nous dit un quatrain paru \u00e0 l’\u00e9poque dans un ouvrage consacr\u00e9 \u00e0 la description de Delft, renaquit le talent de Vermeer. L’histoire ne dit pas ce que devint le chardonneret perch\u00e9 sur sa mangeoire dont Fabritius avait fait un portrait qui \u00e9merveille toujours.
Un peu de brise sur l\u2019eau, des bateaux amarr\u00e9s, le reflet pliss\u00e9 des b\u00e2timents, les deux harenguiers et leurs ombres sur ombre.
<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

#96\/ Tout autour de Vermeer (1)<\/a>
#98\/ Tout autour de Vermeer (2)<\/a>
#103 \/ Tout autour de Vermeer (3)<\/a>
#108\/ Tout autour de Vermeer (4)<\/a>
#112\/ Tout autour de Vermeer (5)<\/a>
#116\/ Tout autour de Vermeer (6)<\/a>
#120\/ Tout autour de Vermeer (7)<\/a>
#127\/ Tout autour de Vermeer (8)<\/a>
#132\/ Tout autour de Vermeer (9)<\/a>
<\/p>\n\n\n\n


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