{"id":11518,"date":"2026-02-08T17:54:51","date_gmt":"2026-02-08T16:54:51","guid":{"rendered":"https:\/\/www.kolhammer-mahringer.at\/madone-de-musee\/"},"modified":"2026-02-08T17:55:25","modified_gmt":"2026-02-08T16:55:25","slug":"madone-de-musee","status":"publish","type":"post","link":"https:\/\/www.kolhammer-mahringer.at\/fr\/madone-de-musee\/","title":{"rendered":"MADONE DE MUS\u00c9E"},"content":{"rendered":"<div class=\"pgc-sgb-cb wp-block-pgcsimplygalleryblock-justified \" data-gallery-id=\"52404017\"><div class=\"sgb-preloader\" id=\"pr_52404017\">\n\t<div class=\"sgb-square\" style=\"background:#d4d4d4\"><\/div>\n\t<div class=\"sgb-square\" style=\"background:#d4d4d4\"><\/div>\n\t<div class=\"sgb-square\" style=\"background:#d4d4d4\"><\/div>\n\t<div class=\"sgb-square\" style=\"background:#d4d4d4\"><\/div><\/div><div class=\"simply-gallery-amp pgc_sgb_slider \" style=\"display: none;\"><div class=\"sgb-gallery\"><div class=\"sgb-item\"><a 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D800\",\"caption\":\"\",\"created_timestamp\":\"1643128115\",\"copyright\":\"\",\"focal_length\":\"50\",\"iso\":\"80\",\"shutter_speed\":\"0.004\",\"title\":\"\",\"orientation\":\"1\"},\"meta\":false,\"postlink\":\"https:\/\/www.kolhammer-mahringer.at\/?attachment_id=11513\"}],\"translatedWithWPMLTM\":\"1\",\"itemsMetaDataCollection\":[]}<\/script><script>(function(){if(window.PGC_SGB && window.PGC_SGB.searcher){window.PGC_SGB.searcher.initBlocks()}})()<\/script><\/div>\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n<p><strong>Madone du mus\u00e9e &#8211; Niklaus Weckmann<\/strong><\/p>\n\n<p>Niklaus Weckmann \u00e9tait un important sculpteur qui, \u00e0 la fin de sa vie, s&rsquo;est consacr\u00e9 \u00e0 la peinture. 15 et d\u00e9but Il a travaill\u00e9 aux XVIe et XVIIe si\u00e8cles, principalement dans la ville d&rsquo;Ulm, dans le sud de l&rsquo;Allemagne. C\u00e9l\u00e8bre pour ses sculptures d\u00e9taill\u00e9es sur bois, Weckmann est associ\u00e9 \u00e0 l&rsquo;\u00e9cole d&rsquo;Ulm, qui combinait des \u00e9l\u00e9ments du r\u00e9alisme du gothique tardif avec les id\u00e9aux naissants de la Renaissance. Son atelier a produit de nombreuses sculptures religieuses, des retables et des figures de d\u00e9votion qui ont jou\u00e9 un r\u00f4le important dans le paysage artistique de son \u00e9poque. Les \u0153uvres de Weckmann se caract\u00e9risent par des d\u00e9tails fid\u00e8les, une profondeur \u00e9motionnelle et un traitement raffin\u00e9 de la draperie.   <\/p>\n\n<p>Cette madone<strong> <\/strong>de Niklaus Weckmann est une repr\u00e9sentation magistrale de la Vierge Marie, qui se distingue \u00e0 la fois par son \u00e9l\u00e9gance et sa complexit\u00e9. Elle est comparable \u00e0 celle du relief de l&rsquo;aile de l&rsquo;ancien ma\u00eetre-autel de l&rsquo;\u00e9glise paroissiale d&rsquo;Attenhofen vers 1515 (aujourd&rsquo;hui mus\u00e9e d&rsquo;Ulm). Marie est repr\u00e9sent\u00e9e gracieusement debout et pr\u00e9sente l&rsquo;enfant J\u00e9sus nu dans ses bras. Ses yeux sont l\u00e9g\u00e8rement tourn\u00e9s vers le bas, probablement pour interpeller le spectateur d&rsquo;une mani\u00e8re subtile et contemplative. Elle porte un voile traditionnel \u00e0 moiti\u00e9 pos\u00e9 sur ses longs cheveux ondul\u00e9s et coiff\u00e9s en boucles typiquement gothiques, soulignant \u00e0 la fois son statut virginal et sa dignit\u00e9 maternelle. Il s&rsquo;agit d&rsquo;un trait caract\u00e9ristique de Weckmann, tout comme le trou de pic sur la t\u00eate de la Vierge.     <\/p>\n\n<p>Le drap\u00e9 de sa robe est extr\u00eamement d\u00e9taill\u00e9 et montre la capacit\u00e9 de Weckmann \u00e0 cr\u00e9er diff\u00e9rentes textures &#8211; des plis lisses et \u00ab\u00a0humides\u00a0\u00bb aux configurations de plis plus volumineuses et dynamiques. Marie se tient sur un croissant de lune, symbole de son immacul\u00e9e conception, souvent associ\u00e9 aux repr\u00e9sentations de la femme apocalyptique. Cet \u00e9l\u00e9ment iconographique souligne \u00e9galement son statut divin et son r\u00f4le de reine des cieux.  <\/p>\n\n<p>L&rsquo;enfant J\u00e9sus est mis en valeur par le grand pli en forme de bol du manteau de Marie. Marie ne touche pas directement l&rsquo;enfant, mais utilise le manteau pour le pr\u00e9senter au spectateur. Ce d\u00e9tail subtil souligne la nature divine du Christ et met en valeur sa valeur de pr\u00e9sentation. J\u00e9sus est assis de biais sur le bras de Marie et a crois\u00e9 ses petits pieds potel\u00e9s, ce qui conf\u00e8re \u00e0 la composition une touche de naturalisme et d&rsquo;innocence. Dans sa main gauche, il tient un globe qui symbolise son r\u00f4le de Salvator Mundi, le sauveur du monde, tandis que sa main droite est lev\u00e9e dans un geste de b\u00e9n\u00e9diction ou de parole. Son expression est vive, avec des l\u00e8vres l\u00e9g\u00e8rement entrouvertes et des yeux vifs, compl\u00e9t\u00e9s par des joues rougies qui donnent vie au personnage.     <\/p>\n\n<p>Cette sculpture incarne les caract\u00e9ristiques stylistiques du gothique tardif, caract\u00e9ris\u00e9 par des d\u00e9tails r\u00e9alistes et l&rsquo;accent mis sur l&rsquo;humanit\u00e9 des figures de d\u00e9votion. Les plis complexes de la robe de Marie et les expressions r\u00e9alistes des deux personnages refl\u00e8tent la capacit\u00e9 de Weckmann \u00e0 capturer \u00e0 la fois la signification spirituelle et la chaleur humaine de ses sujets. Marie et l&rsquo;Enfant J\u00e9sus ne constituent pas seulement un objet de d\u00e9votion, mais aussi un t\u00e9moignage du savoir-faire et de la sensibilit\u00e9 artistique du sculpteur, qui font de lui une figure importante dans l&rsquo;\u00e9volution de la sculpture allemande \u00e0 la transition entre le gothique et la Renaissance.  <\/p>\n\n<p>Litt\u00e9rature :<\/p>\n\n<p>Barbara Maier-L\u00f6rcher, Meisterwerke Ulmer Kunst, Ostfildern 2004.<\/p>\n\n<p>Brigitte Reinhardt (\u00e9d.), Michel Erhart &amp; J\u00f6rg Syrlin d. \u00c4. : Sp\u00e4tgotik in Ulm, Ulm 2002.<\/p>\n\n<p>Barbara Sch\u00e4uffelen et Joachim Feist, Ulm : Portrait d&rsquo;un paysage urbain, Stuttgart 1987.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Madone mus\u00e9ale<br \/>Nikolaus Weckmann<br \/>Ulm 1481 &#8211; 1526 Ulm<\/p>\n<p>Bois de tilleul sculpt\u00e9<br \/>Polychrom\u00e9 et dor\u00e9<br \/>Hauteur 132 cm<\/p>\n","protected":false},"author":4,"featured_media":11488,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[28],"tags":[],"class_list":["post-11518","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sculptures"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>MADONE DE MUS\u00c9E - Kolhammer &amp; 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