{"id":1296,"date":"2020-01-31T14:31:40","date_gmt":"2020-01-31T13:31:40","guid":{"rendered":"http:\/\/artinterview.bai-bao.fr\/?post_type=critique&p=1296"},"modified":"2022-12-31T13:08:14","modified_gmt":"2022-12-31T12:08:14","slug":"la-vienne-de-1900-laboratoire-de-la-modernite","status":"publish","type":"critique","link":"https:\/\/artinterview.com\/en\/critique\/la-vienne-de-1900-laboratoire-de-la-modernite\/","title":{"rendered":"La Vienne de 1900 : laboratoire de la modernit\u00e9"},"content":{"rendered":"\n
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La Vienne de 1900\u00a0: laboratoire de la modernit\u00e9<\/strong>

Chaque \u00e9poque vit les fins d\u2019un monde. Au tournant d\u2019un autre si\u00e8cle, Vienne se m\u00e9tamorphose en un foyer de la psych\u00e9 et engendre le renouveau des formes. Sigmund Freud pose les fondements de la psychanalyse avec\u00a0L\u2019Interpr\u00e9tation des r\u00eaves\u00a0<\/em>alors que son double Arthur Schnitzler, le praticien du roman psychologique, m\u00e9decin devenu dramaturge, fustige les hypocrisies sociales. L\u2019utopiste Stefan Zweig voit en ce cr\u00e9puscule des Habsbourg une fracture sans retour. Hugo von Hofmannsthal, librettiste de Richard Strauss, aspire \u00e0 \u00ab\u00a0\u00eatre meilleur et plus distingu\u00e9 que la vie.\u00a0\u00bb Encourag\u00e9 par son a\u00een\u00e9 Gustav Mahler, le compositeur Arnold Sch\u00f6nberg, s\u2019affranchit avec ses \u00e9l\u00e8ves Anton von Webern et Alban Berg des lois de la tonalit\u00e9. \u00ab\u00a0L\u00e0 o\u00f9 tout ob\u00e9it \u00e0 des r\u00e8gles\u00a0\u00bb, ces visionnaires viennois ont fa\u00e7onn\u00e9 une culture f\u00e9conde, baign\u00e9e de d\u00e9sespoir et d\u2019\u00e9rotisme. Avec une clairvoyance tragique, les cr\u00e9ateurs d\u00e9livrent une vision proph\u00e9tique sur un monde d\u00e9senchant\u00e9. Miroir prismatique d\u2019une identit\u00e9 morcel\u00e9e, Vienne expose nerveusement le caract\u00e8re transitoire de l\u2019existence.<\/p>\n\n\n\n

\u00c0 chaque \u00e9poque son art, \u00e0 l’art sa libert\u00e9.\u00a0<\/em><\/h4>\n\n\n\n

Ces mots inscrits sur le fronton du pavillon de la S\u00e9cession  annoncent le sacre du Jugendstil <\/em>ou Art nouveau. La S\u00e9cession, mouvement artistique contestataire, fond\u00e9 par Gustav Klimt et plusieurs de ses amis, embrasse toutes les disciplines. S\u00e9cession ne signifie pas rupture. Et pourtant elle provoqua diatribes et scandales. Ses membres clament que \u00ab Le commerce ou l\u2019art, tel est l\u2019enjeu de notre S\u00e9cession. Il ne s\u2019agit pas d\u2019un d\u00e9bat esth\u00e9tique, mais d\u2019une confrontation entre deux \u00e9tats d\u2019esprit. \u00bb Ils veulent arracher l\u2019art au n\u00e9goce. Klimt, l\u2019homme qui aimait les femmes, sublime les \u00e9l\u00e9gantes drap\u00e9es de motifs extr\u00eame-orientaux et posant dans des ors byzantins. Les portraits all\u00e9goriques de ses belles amies dans des poses hi\u00e9ratiques ou lascives mettent en valeur son go\u00fbt pour le style ornemental. Loin des fresques, il croque l\u2019abandon inavouable des corps. Ses d\u00e9sirs magnifient le f\u00e9minin. M\u00eame si ses sujets \u00e9rotiques incitent certains conservateurs \u00e0 crier \u00e0 la laideur et \u00e0 l\u2019ind\u00e9cence.

Figure majeure de l\u2019expressionnisme autrichien, Egon Schiele, lui, explore implacablement la g\u00e9ographie des corps. Observateur du d\u00e9tail anatomique mais aussi et surtout de la psychologie humaine, quand il ne r\u00e9p\u00e8te pas des autoportraits tourment\u00e9s, le peintre met \u00e0 nu ses mod\u00e8les. Hant\u00e9 par Eros et Thanatos, il les d\u00e9shabille sur le divan de ses r\u00eaves, posant son trait sur un sexe, un visage ou une main. La v\u00e9rit\u00e9 nue touchante et effroyable de la chair, des pilosit\u00e9s, de la blancheur livide de la peau, des regards absents ou hallucin\u00e9s, appara\u00eet sans d\u00e9tour dans une \u0153uvre impudique, simple. C\u2019est sa mani\u00e8re de d\u00e9shabiller l\u2019\u00e2me de ses mod\u00e8les.

Oskar Kokoschka, un autre rebelle, \u00e9pouvante la cour imp\u00e9riale. Epris d\u2019Alma Mahler, ce \u00ab jeune sauvage \u00bb, est qualifi\u00e9 de \u00ab fl\u00e9au de Dieu \u00bb. De frottis en traces sur la toile, il th\u00e9\u00e2tralise les affres int\u00e9rieures, met en couleur les \u00e9tats d\u2019\u00e2me, exalte \u00ab l\u2019\u00e9rotisme de la cruaut\u00e9 \u00bb. Chacun dans leurs peintures inscrit une charge sexuelle compos\u00e9e de fr\u00f4lements, d\u2019enlacements, de douceurs et de violences. Par leur repr\u00e9sentation de la chair, ces artistes augurent la crise du monde moderne, tant\u00f4t ses enfers concentrationnaires, tant\u00f4t ses parenth\u00e8ses heureuses de libert\u00e9, port\u00e9es, apr\u00e8s la Seconde guerre mondiale, par la beat generation<\/em> puis par les souffles contestataires autour des ann\u00e9es \u00e9rotiques. Au XXIe si\u00e8cle, \u00e0 l\u2019heure des obscurantismes et des n\u00e9gations en tout genre o\u00f9 les morales, les anath\u00e8mes, les peurs, les dogmes et les interdits pr\u00e9valent, n\u2019y a-t-il pas un \u00e9cho r\u00e9solument contemporain \u00e0 la chute de l\u2019empire austro-hongrois ?

Jean-Luc Toula-Breysse<\/p>\n","protected":false},"featured_media":1297,"template":"","class_list":["post-1296","critique","type-critique","status-publish","has-post-thumbnail","hentry","categorie_crit-peinture"],"acf":[],"yoast_head":"\nLa Vienne de 1900 : laboratoire de la modernit\u00e9 - Art Interview<\/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:\/\/artinterview.com\/en\/critique\/la-vienne-de-1900-laboratoire-de-la-modernite\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Vienne de 1900 : laboratoire de la modernit\u00e9 - Art Interview\" \/>\n<meta property=\"og:description\" content=\"La Vienne de 1900\u00a0: laboratoire de la modernit\u00e9 Chaque \u00e9poque vit les fins d\u2019un monde. 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