{"id":18702,"date":"2015-12-14T10:49:23","date_gmt":"2015-12-14T10:49:23","guid":{"rendered":"https:\/\/vitrallsbonet.com\/lorigine-et-la-recuperation-des-vitraux-artistiques\/"},"modified":"2015-12-14T10:49:23","modified_gmt":"2015-12-14T10:49:23","slug":"lorigine-et-la-recuperation-des-vitraux-artistiques","status":"publish","type":"post","link":"https:\/\/vitrallsbonet.com\/fr\/lorigine-et-la-recuperation-des-vitraux-artistiques\/","title":{"rendered":"L’origine et la r\u00e9cup\u00e9ration des vitraux artistiques"},"content":{"rendered":"

Les d\u00e9buts de la tradition du vitrail<\/strong> dans le modernisme<\/strong> se situent dans les derni\u00e8res ann\u00e9es du XIXe si\u00e8cle, dans la continuit\u00e9 de la recherche par les artistes des effets et des particularit\u00e9s du vitrail dans les int\u00e9rieurs n\u00e9o-gothiques<\/strong>.<\/p>\n

Dans son aspect formel, le vitrail moderniste<\/strong> ne se distingue pas de la tradition qui l’a pr\u00e9c\u00e9d\u00e9 et de sa valeur esth\u00e9tique par rapport \u00e0 la peinture d\u00e9corative<\/strong>. Les qualit\u00e9s du vitrail<\/strong> sont d\u00e9termin\u00e9es par la lumi\u00e8re, la qualit\u00e9 et l’\u00e9paisseur de la couche de verre et les techniques utilis\u00e9es pour la polychromie.<\/p>\n

Le vitrail dans le modernisme<\/h2>\n

Les vitraux modernistes<\/strong> ont fait leurs premiers pas en Angleterre, puis en France et aux \u00c9tats-Unis, car ils \u00e9taient tr\u00e8s appr\u00e9ci\u00e9s des architectes. L’origine de ce renouveau du vitrail<\/strong> dans les ann\u00e9es 1860 est attribu\u00e9e aux Anglais et \u00e0 l’existence de nombreux ateliers et manufactures de verre<\/strong>. En ce sens, l’h\u00e9ritage de William Morris, qui a transpos\u00e9 le style de la peinture pr\u00e9rapha\u00e9lite au vitrail<\/strong>, a marqu\u00e9 la continuit\u00e9 des premi\u00e8res ann\u00e9es du modernisme.<\/p>\n

\"CATHEDRALE<\/p>\n

Le n\u00e9ogothique anglais avait retrouv\u00e9 l’expression la plus revivaliste et la plus primitive des vitraux de Morris<\/strong>, h\u00e9ritiers de l’esprit technique et expressif du vitrail m\u00e9di\u00e9val<\/strong>. Elle a permis aux ma\u00eetres verriers d’<\/strong> innover en mati\u00e8re de transparence et d’individualit\u00e9, car chaque bord utilisera les techniques d’une mani\u00e8re particuli\u00e8re. La d\u00e9coration florale et animale existait d\u00e9j\u00e0 dans les vitraux pr\u00e9rapha\u00e9lites. C’est \u00e0 cette \u00e9poque que sont r\u00e9alis\u00e9s les vitraux des grandes cath\u00e9drales fran\u00e7aises et anglaises. La France est influenc\u00e9e par les pr\u00e9rapha\u00e9lites et le gothique anglais.<\/p>\n

Plus tard, dans les ann\u00e9es 1870, les vitraux<\/strong> sont devenus indispensables pour les restaurations<\/strong> et les nouveaux b\u00e2timents n\u00e9ogothiques<\/strong>. Vers 1880, les catalogues recommandant des vitraux pour les maisons<\/strong> se multiplient en Angleterre. Le vitrail peut remplacer efficacement la peinture pour la repr\u00e9sentation de certaines histoires, l\u00e9gendes et po\u00e8mes dans les ch\u00e2teaux m\u00e9di\u00e9vaux en raison du cadre et de l’iconographie<\/strong>. \u00c0 cela s’ajoute une forte appr\u00e9ciation des arts d\u00e9coratifs comme moyen de cr\u00e9er des atmosph\u00e8res et des environnements int\u00e9rieurs<\/strong>.<\/p>\n

Aspects formels et esth\u00e9tiques des vitraux modernistes<\/strong><\/h2>\n

A partir de 1860, les vit<\/strong> raux deviennent plus lumineux<\/strong> que les vitraux<\/strong> m\u00e9di\u00e9vaux ou ceux de la Renaissance et du Baroque. L’architecte fran\u00e7ais et th\u00e9oricien de la premi\u00e8res restaurations d’\u00e9difices gothiques, Viollet-le-Duc<\/strong>a r\u00e9dig\u00e9 une synth\u00e8se de la lois r\u00e9gissant l’art de la verrerie<\/strong>Le projet, \u00e0 vocation arch\u00e9ologique, analyse les effets de la couleur sur les environnements int\u00e9rieurs : les couleurs chaudes avancent et les couleurs froides reculent. La th\u00e9orie de Winston, qui tire de ses exp\u00e9riences les lois du comportement des vit<\/strong> raux, montre que ceux-ci seraient ternes s’ils ne comportaient pas de zones de lumi\u00e8re transparentes. Un espace int\u00e9rieur para\u00eetra sombre et lourd s’il y a plus d’ombres que de lumi\u00e8re. <\/strong>Il ne fait aucun doute que l’\u00e9clairage fourni par les vitraux modernistes<\/a> est l’un des aspects les plus remarquables de leur utilisation.<\/p>\n

\"965748_576327112422233_655760305_o\"<\/a><\/p>\n

Dans son \u00e9volution, le vitrail est parti du plus sch\u00e9matique – avec de grandes plaques – et des figures simples avec de grands aplats de couleurs. Le verre est color\u00e9<\/strong> \u00e0 l’aide d’oxydes m\u00e9talliques<\/strong> et la gamme de couleurs se limite aux bleus, aux jaunes et aux rouges. Le probl\u00e8me des vitraux est que certaines couleurs, comme le rouge, absorbent la lumi\u00e8re.<\/p>\n

\"10291791_653860628026447_5609222045131728318_n\"<\/p>\n

Pour \u00e9viter cela, le ma\u00eetre vitrier cherche \u00e0 obtenir la plus grande transparence<\/strong> et tend \u00e0 r\u00e9aliser des fonds blancs sur lesquels il superpose des plaques de verre color\u00e9es<\/strong> plus \u00e9troites. Ce syst\u00e8me permet de superposer deux couleurs diff\u00e9rentes et de placer une plaque rouge et une plaque verte l’une sur l’autre ou une plaque bleue et une plaque blanche l’une sur l’autre. Cette technique visait \u00e0 contrebalancer l’opacit\u00e9 du verre rouge.<\/p>\n","protected":false},"excerpt":{"rendered":"

Les d\u00e9buts de la tradition du vitrail dans le modernisme se situent dans les derni\u00e8res ann\u00e9es du XIXe si\u00e8cle, dans la continuit\u00e9 de la recherche par les artistes des effets et des particularit\u00e9s du vitrail dans les int\u00e9rieurs n\u00e9o-gothiques.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[149,150],"tags":[20,21,22],"servicios":[],"vidrieras":[],"class_list":["post-18702","post","type-post","status-publish","format-standard","hentry","category-modernisme-fr","category-vitrail-moderne","tag-modernismo","tag-oxido-metalico","tag-vidrieras"],"acf":[],"yoast_head":"\nL'origine et la r\u00e9cup\u00e9ration des vitraux artistiques - Vitralls Bonet<\/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:\/\/vitrallsbonet.com\/fr\/lorigine-et-la-recuperation-des-vitraux-artistiques\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'origine et la r\u00e9cup\u00e9ration des vitraux artistiques - 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