{"id":10209,"date":"2021-04-02T05:29:09","date_gmt":"2021-04-02T03:29:09","guid":{"rendered":"https:\/\/thomasgroslier.fr\/?page_id=10209"},"modified":"2023-06-29T09:43:29","modified_gmt":"2023-06-29T07:43:29","slug":"les-influences","status":"publish","type":"page","link":"https:\/\/thomasgroslier.fr\/en\/les-influences\/","title":{"rendered":"Les influences"},"content":{"rendered":"
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\n\t\t\"Pierre\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>
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Les influences<\/strong><\/h1>\n

Nicolas Poussin<\/h2>\n
Nicolas Poussin, Le printemps, Mus\u00e9e du Louvre<\/p>\" data-image-caption=\"

Nicolas Poussin, Le printemps, Mus\u00e9e du Louvre<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?fit=606%2C447&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10623 size-full\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?resize=606%2C447&ssl=1\" alt=\"Nicolas Poussin, Le printemps, Mus\u00e9e du Louvre\" width=\"606\" height=\"447\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?w=606&ssl=1 606w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?resize=300%2C221&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?resize=400%2C295&ssl=1 400w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Poussin-Le-printemps.jpg?resize=600%2C443&ssl=1 600w\" sizes=\"auto, (max-width: 606px) 100vw, 606px\" \/><\/a>

Nicolas Poussin, Le printemps, Mus\u00e9e du Louvre<\/figcaption><\/figure>\n

Les Saisons<\/b><\/i>\u00a0est le dernier\u00a0ensemble de peintures \u00e0 l'huile r\u00e9alis\u00e9es par le peintre fran\u00e7ais\u00a0<\/span>Nicolas Poussin. C'est un cycle de quatre toiles repr\u00e9sentant chacune une saison.\u00a0Elles ont \u00e9t\u00e9 peintes \u00e0 Rome entre 1660 et 1664 pour le\u00a0<\/span>duc de Richelieu, le neveu du\u00a0<\/span>cardinal de Richelieu.\u00a0Chaque peinture est un paysage \u00e9l\u00e9giaque repr\u00e9sentant \u00e0 la fois des sc\u00e8nes de l'Ancien Testament et une saison\u00a0; des allusions aux quatre phases du jour, aux quatre \u00e2ges de la vie et aux quatre \u00e9l\u00e9ments y ont \u00e9t\u00e9 d\u00e9cel\u00e9e. \u00a0L'iconographie \u00e9voque non seulement les th\u00e8mes chr\u00e9tiens de la mort et de la r\u00e9surrection, mais aussi l'imagerie pa\u00efenne de l'antiquit\u00e9 classique comme\u00a0<\/i>Le Paradis perdu<\/i> de John Milton (dont l'\u00e9criture est contemporaine \u00e0 ces peintures) et les G\u00e9orgiques<\/i> de Virgile.\u00a0Le cycle est expos\u00e9 au Mus\u00e9e du Louvre \u00e0 Paris.<\/span><\/p>\n

Source<\/a><\/p>\n

Le Symbolisme<\/span><\/h2>\n

Le symbolisme<\/b> est un mouvement litt\u00e9raire et artistique apparu en France, en Belgique et en Russie \u00e0 la fin du dix-neuvi\u00e8me si\u00e8cle en r\u00e9action au naturalisme et au mouvement parnassien.<\/span><\/p>\n

Pierre Puvis de Chavannes \u00ab\u00a0Le travail\u00a0\u00bb 1863 Amiens Mus\u00e9e de Picardie<\/p>\" data-image-caption=\"

Pierre Puvis de Chavannes \u00ab\u00a0Le travail\u00a0\u00bb 1863 Amiens Mus\u00e9e de Picardie<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Pierre_Puvis_de_Chavannes_1863_Le_Travail_Musee_de_Picardie.jpg?fit=540%2C350&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179 size-full\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Pierre_Puvis_de_Chavannes_1863_Le_Travail_Musee_de_Picardie.jpg?resize=540%2C350&ssl=1\" alt=\"Pierre Puvis de Chavannes "Le travail" 1863 Amiens Mus\u00e9e de Picardie\" width=\"540\" height=\"350\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Pierre_Puvis_de_Chavannes_1863_Le_Travail_Musee_de_Picardie.jpg?w=540&ssl=1 540w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Pierre_Puvis_de_Chavannes_1863_Le_Travail_Musee_de_Picardie.jpg?resize=300%2C194&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Pierre_Puvis_de_Chavannes_1863_Le_Travail_Musee_de_Picardie.jpg?resize=400%2C259&ssl=1 400w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><\/a>

Pierre Puvis de Chavannes \"Le travail\" 1863 Amiens Mus\u00e9e de Picardie<\/figcaption><\/figure>\n

Le mot Symboliste est propos\u00e9 par Jean Mor\u00e9as, qui utilise ici l'\u00e9tymologie du mot \u00ab\u00a0symbole\u00a0\u00bb (\u00ab\u00a0jeter ensemble<\/i>\u00a0\u00bb) pour d\u00e9signer l'analogie que cette po\u00e9sie souhaite \u00e9tablir entre l'Id\u00e9e abstraite et charg\u00e9e de l'exprimer. Pour les symbolistes, le monde ne saurait se limiter \u00e0 une apparence concr\u00e8te r\u00e9ductible \u00e0 la connaissance rationnelle. Il est un myst\u00e8re \u00e0 d\u00e9chiffrer dans les correspondances qui frappent d'inanit\u00e9 le cloisonnement des sens\u00a0: sons, couleurs, visions participent d'une m\u00eame intuition qui fait du Po\u00e8te une sorte de mage. Le symbolisme oscille ainsi entre des formes capables \u00e0 la fois d'\u00e9voquer une r\u00e9alit\u00e9 sup\u00e9rieure et d'inviter le lecteur \u00e0 un v\u00e9ritable d\u00e9chiffrement\u00a0: d'abord vou\u00e9 \u00e0 cr\u00e9er des impressions \u2014\u00a0notamment par l'harmonie musicale\u00a0\u2014 un souci de rigueur l'infl\u00e9chira bient\u00f4t vers la recherche d'un langage in\u00e9dit. L'influence de St\u00e9phane Mallarm\u00e9 est ici consid\u00e9rable, ce qui entra\u00eene la po\u00e9sie vers l'herm\u00e9tisme.\u00a0La relative bri\u00e8vet\u00e9 n\u2019emp\u00eache nullement le symbolisme d\u2019avoir \u00e9t\u00e9 un mouvement tr\u00e8s riche au regard des domaines d\u2019expressions qu\u2019il a touch\u00e9s. Il concerne tout autant la litt\u00e9rature, la po\u00e9sie, la peinture, la sculpture que la musique. Tous ces m\u00e9diums ont \u00e9t\u00e9 port\u00e9s par des personnalit\u00e9s \u00e9tonnantes, singuli\u00e8res. Joris-Karl Huysmans, Auguste Villiers de l\u2019Isle-Adam (1838-1889), Jules Barbey d\u2019Aurevilly (1808-1889), St\u00e9phane Mallarm\u00e9 (1842- 1898), George Minne (1866-1941), Auguste Rodin (1840-1917), Claude Debussy (1862-1918) et Erik Satie (1866-1925). Gustave Moreau, Odilon Redon,<\/span><\/p>\n

Gustave Moreau<\/p>\" data-image-caption=\"

Gustave Moreau<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?fit=564%2C564&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10115 size-full\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?resize=564%2C564&ssl=1\" alt=\"Gustave Moreau\" width=\"564\" height=\"564\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?w=564&ssl=1 564w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?resize=300%2C300&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?resize=150%2C150&ssl=1 150w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Moreau.jpg?resize=400%2C400&ssl=1 400w\" sizes=\"auto, (max-width: 564px) 100vw, 564px\" \/><\/a>

Gustave Moreau Les Licornes, 1885<\/span><\/figcaption><\/figure>\n

Le symbolisme Nabi<\/h2>\n

-Le symbolisme nabi \u00a0se d\u00e9veloppe autour de Paul S\u00e9rusier (1864- 1927) et de Maurice Denis (1870-1943) dans la continuit\u00e9 de Paul Gauguin et de l\u2019\u00e9cole de Pont-Aven. Paul Gauguin (1848-1903) est consid\u00e9r\u00e9 comme un grand lib\u00e9rateur. Paul S\u00e9rusier et Maurice entendent prolonger cet h\u00e9ritage en lui donnant une dimension r\u00e9solument mystique et chr\u00e9tienne.<\/span><\/p>\n

Maurice Denis Avril 1892 huile sur toile 38 x 61,3 <\/p>\" data-image-caption=\"

Maurice Denis Avril 1892 huile sur toile 38 x 61,3 <\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Maurice-Denis-Avril-1892-huile-sur-toile-38-x-613-cm-Otterlo-Kroller-Muller-Museum-%C2%A9-Otterlo-Kroller-Muller-Museum-.jpg?fit=567%2C348&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10239 size-full\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Maurice-Denis-Avril-1892-huile-sur-toile-38-x-613-cm-Otterlo-Kroller-Muller-Museum-%C2%A9-Otterlo-Kroller-Muller-Museum-.jpg?resize=567%2C348&ssl=1\" alt=\"Maurice Denis\" width=\"567\" height=\"348\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Maurice-Denis-Avril-1892-huile-sur-toile-38-x-613-cm-Otterlo-Kroller-Muller-Museum-%C2%A9-Otterlo-Kroller-Muller-Museum-.jpg?w=567&ssl=1 567w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Maurice-Denis-Avril-1892-huile-sur-toile-38-x-613-cm-Otterlo-Kroller-Muller-Museum-%C2%A9-Otterlo-Kroller-Muller-Museum-.jpg?resize=300%2C184&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Maurice-Denis-Avril-1892-huile-sur-toile-38-x-613-cm-Otterlo-Kroller-Muller-Museum-%C2%A9-Otterlo-Kroller-Muller-Museum-.jpg?resize=400%2C246&ssl=1 400w\" sizes=\"auto, (max-width: 567px) 100vw, 567px\" \/><\/a>

Maurice Denis Avril 1892 huile sur toile 38 x 61,3<\/span><\/figcaption><\/figure>\n

L\u2019esth\u00e9tique symboliste en quelques points essentiels :<\/span><\/p>\n

- Elle s\u2019oppose au r\u00e9alisme et au naturalisme : l\u2019art ne saurait \u00eatre mim\u00e9tique. Les apparences sensibles ne sont que le reflet amoindri de l\u2019id\u00e9al. \u00c0 ce titre l\u2019artiste, au regard de l\u2019irr\u00e9alit\u00e9 du monde objectif, revendique une libert\u00e9 totale, un art expressif qui autorise les divagations de l\u2019imaginaire. D\u2019ailleurs le rejet d\u2019une r\u00e9alit\u00e9 prosa\u00efque et la revendication du r\u00eave se combinent, comme en t\u00e9moigne ce propos d\u2019Albert Aurier : \u00ab De toute part on revendique le droit au r\u00eave, le droit aux p\u00e2turages de l\u2019azur, le droit \u00e0 l\u2019envolement vers les \u00e9toiles ni\u00e9es de l\u2019absolue v\u00e9rit\u00e9.La copie myope des anecdotes sociales, l\u2019imitation imb\u00e9cile des verrues de la r\u00e9alit\u00e9, la plate observation, le trompe-l\u2019\u0153il, la gloire d\u2019\u00eatre aussi fid\u00e8lement, aussi banalement exact que le daguerr\u00e9otype ne\u00a0contente plus aucun peintre, aucun sculpteur digne de ce nom\u00bb<\/span><\/p>\n

\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div>

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\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

-Elle est id\u00e9iste, puisque son id\u00e9al est l\u2019expression de l\u2019Id\u00e9e. Cet id\u00e9al est fortement influenc\u00e9 par la pens\u00e9e platonicienne et plotinienne. La beaut\u00e9 r\u00e9side dans l\u2019intelligible. Elle adh\u00e8re au plus pr\u00e8s aux id\u00e9es de l\u2019artiste. C\u2019est un mouvement de la pens\u00e9e de l\u2019ext\u00e9rieur vers l\u2019int\u00e9rieur pour acc\u00e9der \u00e0 l\u2019unit\u00e9, au-del\u00e0 du visible. Elle exprime l\u2019Id\u00e9e par des formes symboliques qui illustrent l\u2018essence immuable de toute chose.<\/span><\/p>\n

-Elle est subjective, puisque l\u2019objet n\u2019y sera jamais consid\u00e9r\u00e9 en tant qu\u2019objet mais en tant que signe d\u2019id\u00e9e per\u00e7ue par le sujet.<\/span><\/p>\n

-Elle est synth\u00e9tique, puisqu\u2019elle \u00e9crit les formes selon un mode de compr\u00e9hension g\u00e9n\u00e9rale.<\/span><\/p>\n

-Elle est d\u00e9corative car c\u2019est dans le monumental que les artistes expriment pleinement les qualit\u00e9s plastiques de leur art. Ainsi, les artistes symbolistes ont volontiers affront\u00e9 la fresque et produit de grands d\u00e9cors. Alexandre S\u00e9on a notamment d\u00e9cor\u00e9 la salle des mariages de la mairie de Courbevoie.<\/span><\/p>\n

Paul Delvaux<\/span><\/h2>\n
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Paul Delvaux \u00ab\u00a0L’homme dans la rue\u00a0\u00bb 1940<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?fit=640%2C566&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10264 size-large\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=640%2C566&ssl=1\" alt=\"Paul Delvaux "L'homme dans la rue" 1940\" width=\"640\" height=\"566\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=1024%2C905&ssl=1 1024w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=300%2C265&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=768%2C679&ssl=1 768w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=1536%2C1357&ssl=1 1536w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=2048%2C1810&ssl=1 2048w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=780%2C689&ssl=1 780w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=400%2C354&ssl=1 400w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?resize=600%2C530&ssl=1 600w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?w=1280&ssl=1 1280w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/the-man-in-the-street-1940.jpeg?w=1920&ssl=1 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a>
Paul Delvaux \"L'homme dans la rue\" 1940<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n
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Paul Delvaux (1897-1994) Apr\u00e8s l\u2019exposition surr\u00e9aliste du Minotaure (1934), le jeune Paul Delvaux se cr\u00e9e un univers o\u00f9 apparaissent de mani\u00e8re r\u00e9currente des th\u00e8mes qui marquent son \u0153uvre : les nus, les squelettes, les trains et les gares (la premi\u00e8re avait \u00e9t\u00e9 peinte en 1922). On pourrait y ajouter des hommes en costume et \u00e0 chapeau melon, voire l\u2019univers de Jules Verne. En 1940, Paul Delvaux termine un tableau intitul\u00e9 \u00ab L\u2019homme de la rue \u00bb ; expos\u00e9e pendant plusieurs ann\u00e9es au Mus\u00e9e de l\u2019Art wallon, cette huile sur toile de dimension respectable (130x150 cm) met en sc\u00e8ne ce personnage en costume, chapeau sur la t\u00eate, lisant le journal tout en marchant dans un monde surr\u00e9aliste.<\/span><\/p>\n

Giorgio de Chirico<\/span><\/h2>\n
Giorgio de Chirico<\/p>\" data-image-caption=\"

Giorgio de Chirico<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?fit=640%2C433&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10279 size-large\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=640%2C433&ssl=1\" alt=\"\" width=\"640\" height=\"433\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=1024%2C693&ssl=1 1024w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=300%2C203&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=768%2C520&ssl=1 768w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=1536%2C1040&ssl=1 1536w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=780%2C528&ssl=1 780w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=400%2C271&ssl=1 400w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?resize=600%2C406&ssl=1 600w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?w=1600&ssl=1 1600w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Giorgio-de-Chirico.jpg?w=1280&ssl=1 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a>

Giorgio de Chirico<\/figcaption><\/figure>\n

Giorgio de Chirico, n\u00e9 le 10 juillet 1888 \u00e0 V\u00f3los en Thessalie (Gr\u00e8ce), et mort le 20 novembre 1978 \u00e0 Rome (Italie), est un peintre, sculpteur et \u00e9crivain italien dont les \u0153uvres, unanimement admir\u00e9es des surr\u00e9alistes jusqu'en 1925, ont ensuite \u00e9t\u00e9 rejet\u00e9es tout aussi unanimement. Il est l'un des fondateurs du mouvement de la peinture m\u00e9taphysique.<\/span><\/p>\n

Balthus<\/span><\/h2>\n<\/div>\n

Balthus (1908 -2001) Le r\u00eave II <\/p>\" data-image-caption=\"

Balthus (1908 -2001) Le r\u00eave II <\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Balthus.jpg?fit=512%2C476&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10289 size-full\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Balthus.jpg?resize=512%2C476&ssl=1\" alt=\"Balthus (1908 -2001) Le r\u00eave II \" width=\"512\" height=\"476\" srcset=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Balthus.jpg?w=512&ssl=1 512w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Balthus.jpg?resize=300%2C279&ssl=1 300w, https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2021\/04\/Balthus.jpg?resize=400%2C372&ssl=1 400w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/a>

Balthus (1908 -2001) Le r\u00eave II<\/figcaption><\/figure>\n<\/div>\n
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Balthusz Klossowski de Rola, dit Balthus, est n\u00e9 le 29 f\u00e9vrier 1908 \u00e0 Paris. Il est le second fils d'Erich Klossowski (1875-1946), peintre et historien de l'art, et d'Else Dorothea Spiro (1886-1969), dite Baladine, peintre \u00e9galement. Son fr\u00e8re a\u00een\u00e9 est l'\u00e9crivain et dessinateur Pierre Klossowski (1905-2001).<\/span><\/p>\n<\/div>\n

Paul L\u00e9autaud<\/span><\/h2>\n
Paul L\u00e9autaud<\/p>\" data-image-caption=\"

Paul L\u00e9autaud<\/p>\" data-large-file=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2022\/06\/images.jpg?fit=194%2C259&ssl=1\" data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-12102\" src=\"https:\/\/i0.wp.com\/thomasgroslier.fr\/wp-content\/uploads\/2022\/06\/images.jpg?resize=229%2C306&ssl=1\" alt=\"Paul L\u00e9autaud\" width=\"229\" height=\"306\" \/><\/a>

Paul L\u00e9autaud<\/figcaption><\/figure>\n

Paul L\u00e9autaud<\/b>, n\u00e9 le

Solitaire, recueillant les animaux abandonn\u00e9s dans son pavillon de Fontenay-aux-Roses et vivant lui-m\u00eame pauvrement, il se consacre pendant plus de 60 ans \u00e0 son Journal<\/i>, qu\u2019il appellera litt\u00e9raire<\/i>, o\u00f9 il relate, au jour le jour, sous l'impression directe, les \u00e9v\u00e9nements qui le touchent. <\/span>\u00ab Je n\u2019ai v\u00e9cu que pour \u00e9crire. Je n\u2019ai senti, vu, entendu les choses, les sentiments, les gens que pour \u00e9crire. J\u2019ai pr\u00e9f\u00e9r\u00e9 cela au bonheur mat\u00e9riel, aux r\u00e9putations faciles. J\u2019y ai m\u00eame souvent sacrifi\u00e9 mon plaisir du moment, mes plus secrets bonheurs et affections, m\u00eame le bonheur de quelques \u00eatres, pour \u00e9crire ce qui me faisait plaisir \u00e0 \u00e9crire. Je garde de tout cela un profond bonheur. \u00bb<\/span> Source Wikip\u00e9dia<\/span><\/a><\/span><\/span><\/p>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Les influences Nicolas Poussin Les Saisons\u00a0est le dernier\u00a0ensemble de peintures \u00e0 l’huile r\u00e9alis\u00e9es par le peintre fran\u00e7ais\u00a0Nicolas Poussin. C’est un Voir plus<\/a><\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/template_page-builder.php","meta":{"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-10209","page","type-page","status-publish","hentry",""],"yoast_head":"\nThomas Groslier - Artiste peintre - Les influences<\/title>\n<meta name=\"description\" content=\"Thomas Groslier - Artiste peintre - Les influences De Nicolas Poussin, au symbolisme, des Nabis, de Paul Delvaux \u00e0 Giorgio de Chirico, Balthus, Gustave Moreau, Pierre Puvis de Chavannes, Paul Ranson, Maurice Denis\u2026\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thomasgroslier.fr\/en\/les-influences\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Thomas Groslier - 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Version anglaise ci-dessous) Form\u00e9 aux Beaux-Arts de Valence, Thomas Groslier, n\u00e9 en 1957, est un peintre contemporain rattach\u00e9 \u00e0 la Figuration Libre, un mouvement qui revendique une peinture libre, spontan\u00e9e et personnelle. 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