{"id":1648,"date":"2019-02-08T08:21:31","date_gmt":"2019-02-08T07:21:31","guid":{"rendered":"https:\/\/unik-artmag.com\/?p=1648"},"modified":"2025-03-28T12:31:31","modified_gmt":"2025-03-28T11:31:31","slug":"lydia-delectorskay-isadora-duncan-kiki-de-montparnasse-ces-muses-de-peintre","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/lydia-delectorskay-isadora-duncan-kiki-de-montparnasse-ces-muses-de-peintre\/","title":{"rendered":"Lydia Delectorskay, Isadora Duncan, Kiki de Montparnasse… qui sont ces muses de peintre ?"},"content":{"rendered":"\r\n

Dans la mythologie grecque, les Muses sont neuf : filles de Zeus et de Mn\u00e9mosyne, elles incarnent chacune un art, de la po\u00e9sie \u00e0 la danse. Compagnes d\u2019Apollon, elles chantent le monde en ch\u0153ur, pont entre divin et cr\u00e9ation humaine. Mais derri\u00e8re ce mythe d\u2019inspiration intemporelle se cache une r\u00e9alit\u00e9 plus charnelle, plus brute : celle des femmes bien r\u00e9elles qui ont, par leur pr\u00e9sence, leur corps, leur intelligence ou leur myst\u00e8re, inspir\u00e9 les plus grands artistes. Et qui, souvent, ont pay\u00e9 de leur libert\u00e9, de leur sant\u00e9, parfois de leur vie, cette proximit\u00e9 avec la cr\u00e9ation. Parmi elles : Kiki de Montparnasse, Lydia Delectorskaya et Isadora Duncan.<\/strong><\/p>\r\n\r\n\r\n\r\n

Kiki de Montparnasse (1901-1953), muse insolente et sacrifi\u00e9e de Man Ray<\/h3>\r\n\r\n\r\n\r\n

C\u2019est sans doute l\u2019une des photographies les plus c\u00e9l\u00e8bres du XXe si\u00e8cle : Le Violon d\u2019Ingres<\/em> (1924). Un dos nu, des ou\u00efes de violon peintes \u00e0 m\u00eame la peau, un turban oriental. \u00c0 la fois hommage et d\u00e9tournement du tableau La Baigneuse de Valpin\u00e7on<\/em> d\u2019Ingres. Le mod\u00e8le ? Alice Prin, dite Kiki de Montparnasse. Danseuse, chanteuse, actrice, \u00e9crivaine, Kiki est une figure incontournable du Paris boh\u00e8me des ann\u00e9es 1920.<\/p>\r\n

Muse de Man Ray autant que compagne, elle incarne l\u2019effervescence artistique de Montparnasse. Leur relation est orageuse, f\u00e9conde, passionnelle. Mais elle est aussi marqu\u00e9e par une lutte de pouvoir : Kiki refuse longtemps de poser, consciente de l\u2019usage que font les hommes de son image. \u00ab Un photographe n\u2019enregistre que la r\u00e9alit\u00e9 \u00bb, dira-t-elle. Man Ray r\u00e9torque : \u00ab Je photographie comme je peins. \u00bb \u00c0 travers elle, il construit une ic\u00f4ne surr\u00e9aliste.<\/p>\r\n

Mais derri\u00e8re l\u2019image sublime, une femme caboss\u00e9e : Kiki sombre dans l\u2019alcool, la morphine et la solitude. Elle meurt \u00e0 52 ans, oubli\u00e9e de tous, elle qui fut immortalis\u00e9e par tous les plus grands (Modigliani, Soutine, Foujita\u2026). Une muse br\u00fblante et bris\u00e9e, dont les cendres nourrissent encore l\u2019imaginaire collectif.<\/p>\r\n\r\n\r\n\r\n

Lydia Delectorskaya (1910-1998), muse fid\u00e8le et effac\u00e9e de Matisse<\/h3>\r\n\r\n\r\n\r\n

\u00ab\u00a0D\u00e8s la premi\u00e8re s\u00e9ance, \u00e0 chaque nouveau mod\u00e8le, Matisse faisait essayer plusieurs robes de sa r\u00e9serve, \u00e9crit Lydia Delectorskaya dans son livre Contre vents et mar\u00e9es. <\/em>L\u2019histoire de Lydia Delectorskaya est celle d\u2019un effacement volontaire. Arriv\u00e9e en France \u00e0 18 ans apr\u00e8s avoir fui la r\u00e9volution russe, cette jeune femme blonde aux yeux d\u2019un bleu gla\u00e7ant entre en 1932 dans l\u2019intimit\u00e9 d\u2019Henri Matisse comme secr\u00e9taire, avant de devenir son mod\u00e8le et sa confidente.<\/p>\r\n

Bien que Matisse pr\u00e9f\u00e8re d\u2019ordinaire les visages m\u00e9diterran\u00e9ens, il est fascin\u00e9 par la gr\u00e2ce froide de Lydia. Elle incarne pour lui une modernit\u00e9 tranquille, une sensualit\u00e9 retenue. Il la fait poser pour La Danse<\/em>, Les Yeux bleus<\/em>, et surtout pour Le Grand nu couch\u00e9<\/em> (1935), l\u2019un des chefs-d’\u0153uvre de sa p\u00e9riode ni\u00e7oise, qui a n\u00e9cessit\u00e9 plus de vingt versions.<\/p>\r\n

Mais Lydia n\u2019est pas qu\u2019un corps : elle g\u00e8re l\u2019atelier, s\u00e9lectionne les tissus, organise les s\u00e9ances de pose. Apr\u00e8s la mort de Matisse en 1954, elle consacre sa vie \u00e0 faire rayonner son \u0153uvre. Elle publie plusieurs ouvrages et fait don de nombreuses pi\u00e8ces aux mus\u00e9es russes. \u00c0 l\u2019inverse de Kiki, elle incarne la muse d\u00e9vou\u00e9e, quasi monacale, \u00e0 la limite de l\u2019anonymat. Mais sans elle, une part majeure de l\u2019\u0153uvre tardive de Matisse n\u2019aurait peut-\u00eatre jamais exist\u00e9.<\/p>\r\n\r\n\r\n\r\n

Isadora Duncan (1877-1927), muse antique et incarnation du mouvement<\/h3>\r\n\r\n\r\n\r\n

Si Bourdelle a sculpt\u00e9 Isadora Duncan, c\u2019est qu\u2019elle \u00e9tait d\u00e9j\u00e0 une sculpture vivante. Drap\u00e9e dans des tuniques grecques, pieds nus, cheveux au vent, elle dansait comme on prie : dans une tension entre les forces du corps et celles de l\u2019\u00e2me. Pour Antoine Bourdelle, qui la d\u00e9couvre en 1909, elle devient une obsession. Il la grave dans la pierre du Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es en 1913 et lui consacre plus de 150 \u0153uvres : bustes, dessins, bas-reliefs.<\/p>\r\n

Isadora est l\u2019anti-ballerine. Elle rejette les corsets, les pointes, les ballets classiques. Elle fonde sa propre \u00e9cole, inspir\u00e9e par la nature, la Gr\u00e8ce antique et la spontan\u00e9it\u00e9 du geste. Elle incarne une forme d\u2019\u00e9mancipation artistique et f\u00e9minine qui bouleverse son \u00e9poque. Et si son destin est tragique \u2014 \u00e9trangl\u00e9e par son \u00e9charpe dans une d\u00e9capotable \u00e0 Nice \u2014, il est \u00e0 l\u2019image de sa vie : fulgurant, th\u00e9\u00e2tral, profond\u00e9ment incarn\u00e9.<\/p>\r\n

Qu\u2019elles soient amantes, mod\u00e8les, secr\u00e9taires ou artistes \u00e0 part enti\u00e8re, ces trois femmes interrogent le mythe de la muse : figure passive d\u2019inspiration ou v\u00e9ritable co-autrice de l\u2019\u0153uvre ? La ligne est floue. Mais \u00e0 l\u2019heure o\u00f9 l\u2019on revisite les r\u00e9cits dominants, leurs histoires m\u00e9ritent d\u2019\u00eatre racont\u00e9es non pas comme des notes de bas de page, mais comme des chapitres majeurs de l\u2019histoire de l\u2019art.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

Dans la mythologie grecque, les Muses sont neuf : filles de Zeus et de Mn\u00e9mosyne, elles incarnent chacune un art, de la po\u00e9sie \u00e0 la danse. Compagnes d\u2019Apollon, elles chantent le monde en ch\u0153ur, pont entre divin et cr\u00e9ation humaine. Mais derri\u00e8re ce mythe d\u2019inspiration intemporelle se cache une r\u00e9alit\u00e9 plus charnelle, plus brute : […]<\/p>\n","protected":false},"author":1,"featured_media":1649,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1166],"tags":[],"class_list":["post-1648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-masterpiece"],"yoast_head":"\nLydia Delectorskay, Isadora Duncan, Kiki de Montparnasse... qui sont ces muses de peintre ? - GREAT-ARTMAG<\/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:\/\/great-artmag.com\/en\/lydia-delectorskay-isadora-duncan-kiki-de-montparnasse-ces-muses-de-peintre\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lydia Delectorskay, Isadora Duncan, Kiki de Montparnasse... qui sont ces muses de peintre ? - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Dans la mythologie grecque, les Muses sont neuf : filles de Zeus et de Mn\u00e9mosyne, elles incarnent chacune un art, de la po\u00e9sie \u00e0 la danse. 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