{"id":10663,"date":"2026-10-19T10:54:04","date_gmt":"2026-10-19T08:54:04","guid":{"rendered":"https:\/\/great-artmag.com\/?p=10663"},"modified":"2026-10-19T10:57:44","modified_gmt":"2026-10-19T08:57:44","slug":"einstein-autopsie-photogenie-martine-ravache","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/einstein-autopsie-photogenie-martine-ravache\/","title":{"rendered":"“Einstein, autopsie d\u2019une photog\u00e9nie” de Martine Ravache"},"content":{"rendered":"

Bien avant Andy Warhol, qui \u00e9rigea l\u2019image en ic\u00f4ne s\u00e9rielle, Albert Einstein a-t-il invent\u00e9 les codes de la pop-star ? C\u2019est la question, aussi in\u00e9dite que pertinente, que pose Martine Ravache dans \u00ab\u00a0<\/span><\/span>Einstein, autopsie d\u2019une photog\u00e9nie\u00a0\u00bb<\/span><\/span><\/em>, paru en octobre 2026 aux \u00e9ditions du Cano\u00eb.<\/span><\/span><\/strong><\/p>\n

\"\"
Portrait d’Albert Einstein en 1947 – Wikim\u00e9dia Commons<\/figcaption><\/figure>\n

Photog\u00e9nie, photo-g\u00e9nie\u2026 Le jeu de mots est moins simpliste qu\u2019il n\u2019y para\u00eet. L\u2019historienne de l\u2019art, d\u00e9j\u00e0 autrice de remarquables ouvrages consacr\u00e9s aux relations entre art et photographie, dont <\/span><\/span>Regards parano\u00efaques<\/span><\/span><\/em> (lire notre critique<\/a>), part d\u2019un paradoxe. Comment expliquer que ce <\/span><\/span>c\u00e9l\u00e8bre <\/span><\/span>savant, prix Nobel de physique en 1921, consid\u00e9r\u00e9 comme l\u2019un des plus grands penseurs de tous les temps, se soit pr\u00eat\u00e9 au jeu de la photographie avec une telle prodigalit\u00e9 ? Alors que celle-ci n\u2019avait pas encore totalement acquis ses lettres de noblesse, le p\u00e8re des th\u00e9ories de la relativit\u00e9 restreinte et g\u00e9n\u00e9rale <\/span><\/span>figure sur <\/span><\/span>pr\u00e8s de 3 000 clich\u00e9s ! La moiti\u00e9, certes, de ceux <\/span><\/span>o\u00f9<\/span><\/span> Marilyn Monroe <\/span><\/span>prend la pose<\/span><\/span>, mais l\u2019\u00e9poque n\u2019\u00e9tait pas la m\u00eame\u2026 ni leur plastique.<\/span><\/span><\/p>\n

La beaut\u00e9 ne fait donc pas la photog\u00e9nie, constate Martine Ravache. Pas plus qu\u2019un cerveau bien fait ! \u00c0 titre de comparaison, Marie Curie, double prix Nobel, ne nous est parvenue qu\u2019\u00e0 travers quelques clich\u00e9s, o\u00f9 elle appara\u00eet rarement souriante, toujours empes\u00e9e. Einstein, lui, avec ses cheveux en bataille, ses pantalons tirebouchonn\u00e9s, son petit bedon, ses \u00e9clats de rire et ses pulls informes, tient le haut du pav\u00e9. \u00ab Einstein a une gueule \u00bb, observe la critique d\u2019art. \u00ab Il n\u2019est ni laid ni beau, mais il a un corps. \u00bb<\/span><\/span><\/p>\n

L\u00e0 g\u00eet le \u00ab myst\u00e8re \u00bb de la photog\u00e9nie : ce magn\u00e9tisme irr\u00e9ductible, cette pr\u00e9sence singuli\u00e8re que l\u2019objectif semble r\u00e9v\u00e9ler <\/span><\/span>aux uns et <\/span><\/span>refuser <\/span><\/span>aux autres<\/span><\/span>. Avec <\/span><\/span>ses vestes de lin \u00e0 m\u00eame la peau<\/span><\/span>, ses chaussures sans chaussettes et son allure d\u00e9penaill\u00e9e, Einstein fut un influenceur avant l\u2019heure. Au point que Levi Strauss dut r\u00e9\u00e9diter \u00e0 des milliers d\u2019exemplaires le blouson <\/span><\/span>de cuir <\/span><\/span>qu\u2019il portait sur le clich\u00e9 r\u00e9alis\u00e9 par Lotte Jacobi en 1938. Avant les r\u00e9seaux sociaux, avant le marketing d\u2019influence, le savant avait d\u00e9j\u00e0 pressenti qu\u2019une image pouvait faire bien davantage que repr\u00e9senter <\/span><\/span>un \u00eatre<\/span><\/span> : lui conf\u00e9rer une allure, une pr\u00e9sence, une existence publique autonome.<\/span><\/span><\/p>\n

Einstein l\u2019avait compris avant beaucoup d\u2019autres : la photographie est affaire de collaboration, d\u2019alchimie entre un mod\u00e8le et celui ou celle qui capte et interpr\u00e8te son image. \u00ab Les photographes avaient enfin rep\u00e9r\u00e9 et localis\u00e9 le corps de la science \u00bb, \u00e9crit Martine Ravache. De son c\u00f4t\u00e9, Einstein a su accepter leurs sollicitations (Germaine Van Parys, Philippe Halsman, Yousuf Karsh\u2026) au point de devenir et de demeurer, aujourd\u2019hui encore une ic\u00f4ne absolue, reproduite sur des mugs et des tee-shirts. \u00c0 l\u2019instar d\u2019un Che Guevara aur\u00e9ol\u00e9 de son \u00e9toile. \u00abEinstein, lui, sous l\u2019objectif, tient seul et \u00e0 bout de bras la chronique en images d\u2019un demi-si\u00e8cle d\u2019histoire du monde\u00bb, \u00e9crit Martine Ravache.<\/span><\/span><\/p>\n

\"\"<\/a>Mais la r\u00e9flexion de Martine Ravache d\u00e9borde largement la question de l\u2019apparence pour interroger les intentions qui la sous-tendent. En professionnelle aguerrie de l\u2019image, elle ne se laisse pas aveugler par ce miroir aux alouettes. Elle cherche, creuse, lit, regarde, interroge la litt\u00e9rature, les archives et les portraitistes. Et finit par mettre au jour ce que la photographie rec\u00e8le de leurre. Derri\u00e8re cette \u00ablibert\u00e9 int\u00e9rieure \u00bb qui semble \u00e9maner du savant, derri\u00e8re son ironie (comment ne pas songer \u00e0 la cultissime photographie d\u2019Arthur Sasse, prise en 1951, sur laquelle Einstein tire la langue ? ) se dessine une tout autre r\u00e9alit\u00e9, infiniment moins lumineuse. Et si, en s\u2019exposant ainsi, Einstein avait pr\u00e9cis\u00e9ment cherch\u00e9 \u00e0 se dissimuler ? interroge Martine Ravache. S\u2019il s\u2019\u00e9tait forg\u00e9 un double protecteur, une figure publique offerte en p\u00e2ture au monde pour mieux lui soustraire sa vie intime, avec ses petitesses, ses zones d\u2019ombre, ses l\u00e2chet\u00e9s, parfois sa cruaut\u00e9 ? En particulier vis \u00e0 vis de sa premi\u00e8re \u00e9pouse, Mileva Mari\u0107, physicienne d\u2019exception, dont la contribution majeure aux premiers travaux du savant semble aujourd\u2019hui \u00e9tablie.<\/span><\/span><\/span><\/p>\n

Le paradoxe est vertigineux : celui qui s\u2019est expos\u00e9 \u00e0 tous les regards aurait ainsi fait de sa propre image un \u00e9cran, une fa\u00e7ade, un dispositif de protection. Pour Martine Ravache, la photog\u00e9nie tient peut-\u00eatre aussi de cette opacit\u00e9. Derri\u00e8re l\u2019ic\u00f4ne solaire, la libert\u00e9 affich\u00e9e et la malice l\u00e9gendaire, s\u2019est sans doute jou\u00e9e une autre histoire. Et c\u2019est tout l\u2019int\u00e9r\u00eat de cet essai de nous la r\u00e9v\u00e9ler.<\/span><\/span><\/span><\/p>\n

Aude Seyssel<\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Bien avant Andy Warhol, qui \u00e9rigea l\u2019image en ic\u00f4ne s\u00e9rielle, Albert Einstein a-t-il invent\u00e9 les codes de la pop-star ? C\u2019est la question, aussi in\u00e9dite que pertinente, que pose Martine Ravache dans \u00ab\u00a0Einstein, autopsie d\u2019une photog\u00e9nie\u00a0\u00bb, paru en octobre 2026 aux \u00e9ditions du Cano\u00eb. Photog\u00e9nie, photo-g\u00e9nie\u2026 Le jeu de mots est moins simpliste qu\u2019il n\u2019y […]<\/p>\n","protected":false},"author":5,"featured_media":10664,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1167],"tags":[1169],"class_list":["post-10663","post","type-post","status-publish","format-standard","has-post-thumbnail","category-livre","tag-photographie"],"yoast_head":"\n"Einstein, autopsie d\u2019une photog\u00e9nie" de Martine Ravache - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"Albert Einstein a-t-il invent\u00e9 les codes de la pop-star ? 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