{"id":8711,"date":"2024-10-08T11:59:11","date_gmt":"2024-10-08T11:59:11","guid":{"rendered":"https:\/\/pelestest.thepoint-agency.com\/idila\/"},"modified":"2024-10-08T11:59:11","modified_gmt":"2024-10-08T11:59:11","slug":"idila","status":"publish","type":"post","link":"https:\/\/thewebdevpoint.com\/ro\/patrimoniu\/idila\/8711\/","title":{"rendered":"Idila"},"content":{"rendered":"

Aurul \u0219i argintul au fost de-a lungul timpului materialele preferate de arti\u0219ti pentru realizarea diverselor piese cu utilit\u0103\u0163i variate, \u00eens\u0103 bronzul a reprezentat o op\u021biune convenabil\u0103, fiind ca \u015fi metalele nobile un material peren. \u00cen genere, prin bronz se \u00een\u021belege aliajul constituit din cupru cu staniu, aluminiu, plumb, \u00een propor\u021bii variabile, de aici fiind cunoscute putem spune ,,derivate\u201d ale bronzului, cum ar fi al\u0103muri \u0219i alpacale.<\/p>\n

Me\u015fte\u015fugul confec\u021bion\u0103rii obiectelor din bronz, precum statui, statuete, medalii, bijuterii, piese de art\u0103 decorativ\u0103, dateaz\u0103 din cele mai vechi timpuri. Bronzul a fost descoperit, probabil \u00eent\u00e2mpl\u0103tor, de c\u0103tre vechii sumerieni cu 3500 de ani \u00ceH. De aici s-a r\u0103sp\u00e2ndit \u00een Persia, apoi China \u0219i Egipt, ajung\u00e2nd \u00een cele din urm\u0103 \u0219i \u00een Europa. Ini\u0163ial s-au folosit mulajele din nisip, ca mai apoi s\u0103 fie \u00eenlocuite de mulajele \u00een piatr\u0103 \u015fi lut. \u00cen perioada antic\u0103, fierarii greci \u015fi romani ad\u0103ugau zinc, plumb sau argint acestui aliaj, pentru fabricarea diverselor obiecte necesare \u00een epoc\u0103. Treptat, bronzul devine un metal care se bucur\u0103 de mare considera\u0163ie din partea aristocra\u021biei, ca de altfel \u015fi din partea arti\u015ftilor. Folosirea sa \u00een perioada medieval\u0103 s-a intensificat, iar odat\u0103 cu dezvoltarea industrializ\u0103rii, de la \u00eenceputul secolului al XIX-lea num\u0103rul fabricilor de prelucrare a bronzului din vestul continentului s-au \u00eenmul\u0163it. Tehnicile de prelucrare a bronzului includ turnarea, laminarea, forjarea, extrudarea, rezultatul fiind un material dur, foarte rezistent, care nu corodeaz\u0103 u\u015for.<\/p>\n

\"\"\u00cen Fran\u0163a s-a remarcat atelierul de prelucrare a bronzului condus de c\u0103tre Eugene Soleau, situat pe Rue de Turenne, 127, Paris. Fabricant de bronzuri, Pre\u0219edinte al Camerei Sindicale a Bronzurilor, succesor al celebrului Louis Kley (1833-1911), Soleau realiza piese deosebite prin frumuse\u021bea \u0219i calitatea excep\u021bional\u0103. De\u0219i era foarte implicat \u00een activitea de crea\u021bie, Soleau a fost cunoscut \u0219i ca autor al unor c\u0103r\u021bi de specialitate, a unor proiecte de lege, publicate \u00een Fran\u021ba la finele secolului al XIX-lea, \u00eenceputul secolului al XX-lea. Studiu asupra propriet\u0103\u021bii modelelor de arta aplicat\u0103 \u00een industrie a ap\u0103rut la Paris, \u00een 1889 \u0219i i-a adus notorietatea lui Eugene Soleau. Autorul \u00ee\u0219i justifica demersul prin apari\u021bia pe pia\u021ba obiectelor de art\u0103 din Fran\u021ba, dar \u0219i din str\u0103in\u0103tate, a unui num\u0103r tot mai mare de piese contraf\u0103cute, ceea ce afecta \u00een mod negativ percep\u021bia oamenilor asupra calit\u0103\u021bii acestor produse, \u00een detrimentul \u00een primul r\u00e2nd al artei, dar \u0219i al industria\u0219ilor. Ca exemplu, men\u021bioneaz\u0103 c\u0103 statueta ,, Triumful iubirii\u201d creat\u0103 de Jean Louis Gregoire (1840-1890) a fost reprodus\u0103 \u00een 100 mii exemplare \u0219i v\u00e2ndut\u0103 \u00een Europa \u0219i Statele Unite. Pentru a descuraja aceast\u0103 practic\u0103 a imita\u021biei f\u0103r\u0103 limite, Soleau a propus modificarea legisla\u021biei franceze cu privire la acest aspect, prin ad\u0103ugarea unor noi articole la legile din 1793 \u0219i mai tarziu, din 1806. Soleau nu era de acord c\u0103 ,, arta se termin\u0103 acolo unde \u00eencepe industria\u201d. Pentru a combate aceast\u0103 expresie \u0219i a se asigura c\u0103 valoarea artei nu este afectat\u0103, el a sugerat un sistem de numerotare a pieselor dintr-o serie, limit\u00e2nd \u00een acest mod cantitatea obiectelor dintr-un lot. Recomand\u0103rile sale au avut \u00een cele din urm\u0103 ecou, fiind urmate de modific\u0103ri legislative importante \u00een Fran\u021ba la \u00eenceputul secolului al XX-lea.<\/p>\n

Modul de lucru al lui Eugene Soleau, calit\u0103\u021bile manageriale deosebite, interesul manifestat pentru p\u0103strarea formei pure a artei, i-au determinat pe arti\u0219tii plastici ai epocii s\u0103 doreasc\u0103 o str\u00e2ns\u0103 colaborare cu fabrica sa. Printre ace\u0219tia, un loc aparte l-a ocupat Gustave Joseph Ch\u00e9ret, sculptor \u0219i ceramist deosebit de talentat. N\u0103scut \u00een anul 1838, Gustave Joseph \u00eencepe s\u0103 studieze sculptura la v\u00e2rst\u0103 de numai 13 ani. Urm\u00e2nd moda vremii, la 25 de ani, Ch\u00e9ret expune cu mult succes obiecte create de el, la Salonul de la Paris, \u00een 1863. Aptitudinile distincte ale t\u00e2n\u0103rului artist, \u00eel determin\u0103 pe celebrul Baccarat s\u0103-l angajeze \u00een anul 1877, \u00een atelierul s\u0103u.<\/p>\n

\"\"A realizat numeroase desene de modele pentru manufactura de sticl\u0103 Baccarat, ca de altfel \u0219i desene pentru sculpturi de dimensiuni mici \u0219i mari. Dup\u0103 numai doi ani, Ch\u00e9ret ob\u021bine Premiul de la S\u00e8vres pentru realizarea unui proiect de vase \u00eenalte de 2 metri. \u00cen anul 1868, Gustave Joseph Ch\u00e9ret se c\u0103s\u0103tore\u0219te cu fiica lui Albert Ernest Carrier Belleuse (1824-1887). \u00cen 1886 \u00eei succede socrului s\u0103u pentru un an la conducerea Direc\u021biei de Art\u0103 a Manufacturii Na\u021bionale de la Sevres. Atelierul Carrier Belleuse era situat pe strada La Tour D\u2019Auvergne, 15, la mai putin de 200 de metri de sediul manufacturii Chaboche. Unul dintre obi\u0219nui\u021bii atelierului era Auguste Rodin, \u00eentre anii 1864-1870. Printre piesele care l-au consacrat pe Gustave Joseph Ch\u00e9ret, se num\u0103r\u0103 vestita ,,Salamandra\u201d (denumit\u0103 ini\u021bial Mica), model circular \u0219i \u00een evantai, o u\u0219\u0103 de \u0219emineu brevetat\u0103 \u00een anul 1885 ( brevet nr. 169875). Fratele lui Gustave Joseph, pictorul Jules Ch\u00e9ret (1836-1932) a realizat primul afi\u0219 pentru ,,Salamandra\u201d. Lucr\u0103rile de ceramic\u0103, sticl\u0103 sau bronz ale maestrului Gustave Joseph Ch\u00e9ret au fost opere de art\u0103 remarcabile, \u00een care motivele decorative erau foarte variate, pornind de la motivele vegetale sau zoomorfe, putti surprin\u0219i \u00een mi\u0219care, p\u00e2n\u0103 la scenele mitologice \u0219i algorii.<\/p>\n

De\u0219i piesele sale au decor \u00een relief u\u0219or, mezorelief, basorelief, Ch\u00e9ret era specializat \u00een decorurile \u00een relief \u00eenalt, indiferent de materialul suport, duc\u00e2nd uneori, \u00een mod eronat, la percep\u021bia unui decor aplicat. Realizarea unor grupuri statuare de excep\u021bie a constituit una dintre preocup\u0103rile sale esen\u021biale. Gra\u021bia, frumuse\u021bea, perfec\u021biunea acestor crea\u021bii semnate de Ch\u00e9ret au fost \u00eentotdeauna pe deplin pre\u021buite. Activitatea creatoare a artistului Gustave Joseph Ch\u00e9ret se sf\u00e2r\u0219e\u0219te \u00een anul 1894. Ch\u00e9ret a fost omagiat \u00een decembrie 1894 printr-o expozi\u021bie cu v\u00e2nzare, organizat\u0103 \u00een holul Hotelului Drouot din Paris pentru o perioad\u0103 de trei zile, ocazie prin care multe piese din bronz \u0219i teracota ale artistului \u0219i-au g\u0103sit noi proprietari. Evenimentul a fost reluat \u00een anul 2002, fiind g\u0103zduit \u00een acela\u0219i loc, \u00eens\u0103 pentru licita\u021bie au fost expuse piese apar\u021bin\u00e2nd mai multor arti\u0219ti francezi de la \u00eenceputul secolului al XX-lea.<\/p>\n

Muzeul Na\u021bional Pele\u0219 detine \u00een colec\u021bia de metal o pies\u0103 semnat\u0103 de Gustave Joseph Ch\u00e9ret, turnat\u0103 \u00een bronz \u00een atelierul lui Eugene Soleau din Paris, intitulat\u0103 ,,Idila\u201d. Este un vas cu baza circular\u0103, corpul tronconic, redus la gur\u0103, cu buza lat\u0103, profilat\u0103. Decorul, \u00een u\u0219or relief, este dispus \u00een sensul acelor de ceasornic, prezent\u00e2nd \u00een detaliu o poveste de dragoste, \u00eentre o t\u00e2n\u0103r\u0103 \u0219i un amora\u0219. Nara\u021biunea este compus\u0103 din trei episoade redate independent unul de altul, \u00eens\u0103 rotirea vasului creeaz\u0103 impresia privitorului c\u0103 se afl\u0103 \u00een fa\u021ba unui film mut de la finele secolului al XIX-lea (ini\u021bial, autorul a realizat aceast\u0103 oper\u0103 pe trei panouri din bronz, cu dimensiunile de 33,30 cm x 16,30 cm, toate \u00eencadrate \u00eentr-o singur\u0103 ram\u0103, form\u00e2nd un tablou).<\/p>\n

\"\"\u00cen prima compozi\u021bie, o t\u00e2n\u0103r\u0103 drapat\u0103, descul\u021b\u0103, cu p\u0103rul str\u00e2ns \u00een coc la spate, se plimb\u0103 cu o floare \u00een m\u00e2n\u0103, simbol al purit\u0103\u021bii ei suflete\u0219ti. Sub soarele matinal, personificat, ce se ive\u0219te l\u00e2ng\u0103 o perdea de nori, un cupidon o urmeaz\u0103, f\u0103r\u0103 ca ea s\u0103-\u0219i dea seama. \u00centreaga ac\u021biune se desf\u0103\u0219oar\u0103 vara, \u00eentr-un peisaj pres\u0103rat cu flori.<\/p>\n

Observ\u0103m \u00een urm\u0103toarea secven\u021b\u0103 mici modific\u0103ri, astfel, amora\u0219ului \u00eei lipse\u0219te arcul de pe um\u0103r. Timid, cu m\u00eena st\u00e2ng\u0103 dus\u0103 la gur\u0103, zbur\u00e2nd \u00een urma tinerei, amora\u0219ul \u00eendr\u0103zne\u0219te, totu\u0219i, s\u0103-i ating\u0103 mijlocul, sub privirea uimit\u0103 a soarelui. Fata este evident surprins\u0103, gesturile ei fiind gr\u0103itoare \u00een acest sens: capul tinerei este u\u0219or \u00eentors c\u0103tre cel care o prinde pe nea\u0219teptate, m\u00e2inile ei str\u00e2ng cu putere floarea la piept. Soarele personificat, particip\u0103 la \u00eentreaga ac\u021biune, fiind \u00een asentimentul fetei, ochii lui mari, rotunzi, manifest\u00e2nd de asemenea stupoarea.<\/p>\n

Cutezan\u021ba amora\u0219ului atinge apogeul \u00een cel de-al treilea episod. Micul putto o s\u0103rut\u0103 pe t\u00e2n\u0103ra c\u0103zut\u0103 \u00een genunchi. M\u00e2inile ei \u00eentinse, floarea picat\u0103 din m\u00e2n\u0103, mimica corpului simbolizeaz\u0103 rezisten\u021ba ei \u00eempotriva desf\u0103\u0219ur\u0103rii acestei \u00eent\u00e2mpl\u0103ri. Soarele se afl\u0103 \u00een concordan\u021b\u0103 cu sim\u021b\u0103mintele ei, tulburarea astrului fiind manifestat\u0103 prin pozi\u021bia adoptat\u0103 \u0219i expresia fe\u021bei. Fiind o lucrare simbolist\u0103, desf\u0103\u0219urarea evenimentelor poate fi interpretat\u0103 ca un film al iubirii, \u00een care tinerele candide sunt atinse de aripile dragostei, l\u0103s\u00e2ndu-se \u00een cele din urm\u0103 prad\u0103 ei.<\/p>\n

De\u0219i piesa nu dispune de dimensiuni impresionante, ea are \u00een\u0103l\u021bimea de 21,5 cm, diamentul bazei de 7,5 cm, diametrul gurii de 8 cm, diametrul maxim al corpului de 9,5 cm, ea se impune \u00een r\u00e2ndul pieselor de art\u0103 prin finen\u021bea detaliilor, simbolistica subiectului \u00eencadrat\u0103 \u00een curentul Art Nouveau, aten\u021bia acordat\u0103 tehnicii de execu\u021bie. Joseph Ch\u00e9ret a \u0219tiut s\u0103 atrag\u0103 aten\u021bia iubitorilor de art\u0103 asupra evenimentelor importante din via\u021ba semenilor, asupra c\u0103rora oamenii erau prea gr\u0103bi\u021bi s\u0103 reflecteze.
\nUtilizarea temei iubirii printr-un lirism metaforic transpus in desenul impecabil al lucrarii si desfasurarea in etape a subiectului il situeaza pe autor in randul creatorilor francezi de calitate.<\/p>\n

Ca orice alt\u0103 pies\u0103 creat\u0103 de Ch\u00e9ret, \u0219i aceasta poart\u0103 semn\u0103tura autorului, amplasat\u0103 \u00eentre ultimul \u0219i primul episod al nara\u021biunii, u\u0219or pe diagonal\u0103, scris\u0103 olograf, deasupra numelui turn\u0103toriei \u0219i localit\u0103\u021bii: Joseph Ch\u00e9ret. E. SOLEAU Paris.<\/p>\n

Corina Dumitrache, muzeograf<\/small><\/h4>\n","protected":false},"excerpt":{"rendered":"

Aurul \u0219i argintul au fost de-a lungul timpului materialele preferate de arti\u0219ti pentru realizarea diverselor piese cu utilit\u0103\u0163i variate, \u00eens\u0103 bronzul a reprezentat o op\u021biune convenabil\u0103, fiind ca \u015fi metalele nobile un material peren. \u00cen genere, prin bronz se \u00een\u021belege aliajul constituit din cupru cu staniu, aluminiu, plumb, \u00een propor\u021bii variabile, de aici fiind cunoscute […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[260,259],"tags":[161],"class_list":["post-8711","post","type-post","status-publish","format-standard","hentry","category-argint-si-metal-comun","category-patrimoniu","tag-colectia-de-argint-si-metal-comungustave-joseph-cheret"],"acf":[],"yoast_head":"\nIdila · Peles Test<\/title>\n<meta name=\"robots\" content=\"noindex, follow, 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