{"id":1980,"date":"2020-02-13T14:37:56","date_gmt":"2020-02-13T13:37:56","guid":{"rendered":"https:\/\/unik-artmag.com\/?p=1980"},"modified":"2026-05-12T13:39:22","modified_gmt":"2026-05-12T11:39:22","slug":"la-tapisserie-de-lapocalypse-un-joyau-dangers","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/la-tapisserie-de-lapocalypse-un-joyau-dangers\/","title":{"rendered":"Tapisserie m\u00e9dievale : Le joyau d’Angers sauv\u00e9 de l\u2019Apocalypse"},"content":{"rendered":"\r\n

La Tapisserie de l\u2019Apocalypse reste le plus grand ensemble textile m\u00e9di\u00e9val conserv\u00e9 au monde. Suspendue dans une demi-p\u00e9nombre au ch\u00e2teau d’Angers, cette \u0153uvre monumentale laisse chaque visiteur stup\u00e9fait. Elle se compose de 67 tableaux, contre 84 \u00e0 l’origine. Ses dimensions demeurent hors norme avec plus de 100 m\u00e8tres de long. Initialement, la tenture atteignait m\u00eame 141 m\u00e8tres de longueur pour 6 m\u00e8tres de haut. Elles retracent fid\u00e8lement les \u00e9pisodes de l\u2019Apocalypse selon le dernier livre du Nouveau Testament.<\/strong><\/p>\r\n\r\n\r\n\r\n

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\"\"<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

L’origine historique du joyau d’Angers<\/h3>\r\n

Le comte Louis 1er d\u2019Anjou a pass\u00e9 commande de ce \u00ab beau tapis de l\u2019Apocalypse \u00bb en 1375. Ce prince \u00e9tait le fr\u00e8re du roi de France Charles V. Les archives conservent encore aujourd\u2019hui la trace de cette transaction historique. Louis 1er d\u2019Anjou a agi en faveur du d\u00e9veloppement de l\u2019art d\u00e9coratif. Ce savoir-faire textile venait initialement d\u2019Orient avant de s’\u00e9panouir en France. La tapisserie est d\u00e9sormais le tr\u00e9sor embl\u00e9matique du Maine-et-Loire.<\/p>\r\n

Un d\u00e9fi de conservation pour un vestige de 650 ans<\/h3>\r\n

La restauratrice Montaine Bongrand exprime une \u00e9motion intense en travaillant sur ce vestige. Elle collabore depuis 2016 avec une \u00e9quipe sp\u00e9cialis\u00e9e pour \u00e9valuer l\u2019\u00e9tat de l\u2019\u0153uvre. Ce tr\u00e9sor textile a travers\u00e9 650 ans d\u2019histoire et de nombreux al\u00e9as. Malgr\u00e9 son importance, elle ne b\u00e9n\u00e9ficie pas toujours de la m\u00eame notori\u00e9t\u00e9 que la broderie de Bayeux. La salle d’exposition actuelle au c\u0153ur du ch\u00e2teau d’Angers prot\u00e8ge l’\u0153uvre depuis 1954. Les experts surveillent attentivement l’usure des fibres naturelles de laine.<\/p>\r\n

L’analyse scientifique des d\u00e9gradations textiles<\/h3>\r\n

Une phase d’observation visuelle a r\u00e9cemment d\u00e9but\u00e9 dans la salle d’exposition. Montaine Bongrand et Susanne Bouret ont utilis\u00e9 un \u00e9chafaudage pour inspecter les fils. Susanne Bouret est une sp\u00e9cialiste reconnue de la restauration \u00e0 Aubusson. Quatre pi\u00e8ces ont subi des analyses approfondies. Parmi elles figure le tableau intitul\u00e9 Le Lecteur<\/em>. Les experts \u00e9tudient \u00e9galement La Moisson des \u00e9lus<\/em>. Enfin, le panneau du Vainqueur au cheval blanc<\/em> fait l’objet d’un examen technique complet.<\/p>\r\n

Comprendre la Tapisserie de l’Apocalypse d’Angers<\/h3>\r\n

La Tapisserie de l’Apocalypse illustre le texte de saint Jean avec une pr\u00e9cision technique incroyable. Le duc Louis Ier d’Anjou souhaitait une \u0153uvre de propagande et de d\u00e9votion. Cass\u00e9e au registre M\u00e9moire du monde de l’UNESCO, le chef d’oeuvre repr\u00e9sente une prouesse artistique majeure du XIVe si\u00e8cle fran\u00e7ais. Le public peut admirer cette narration visuelle complexe dans une galerie d\u00e9di\u00e9e \u00e0 Angers.<\/p>\r\n

Le sauvetage miraculeux du patrimoine angevin<\/h3>\r\n

On dit souvent que ce joyau a \u00e9t\u00e9 sauv\u00e9 de l\u2019oubli apr\u00e8s la R\u00e9volution fran\u00e7aise. Durant cette p\u00e9riode troubl\u00e9e, l’\u0153uvre fut d\u00e9coup\u00e9e et dispers\u00e9e de mani\u00e8re tragique. Certains fragments servaient alors de couvertures pour les chevaux ou de simples tapis de sol. Le chanoine Joubert a heureusement rassembl\u00e9 et restaur\u00e9 les pi\u00e8ces au XIXe si\u00e8cle. Son travail passionn\u00e9 permet aujourd’hui d’admirer cet ensemble presque complet. Cette survie est consid\u00e9r\u00e9e par les historiens comme un v\u00e9ritable miracle patrimonial. La conservation de ces chefs-d’\u0153uvre repose sur un contr\u00f4le climatique extr\u00eamement rigoureux. La luminosit\u00e9 est maintenue \u00e0 un niveau tr\u00e8s bas pour \u00e9viter la d\u00e9coloration des pigments. La temp\u00e9rature reste stable autour de 19\u00b0C dans les galeries d’exposition. L’hygrom\u00e9trie doit imp\u00e9rativement afficher un taux constant de 50 %. Ces pr\u00e9cautions emp\u00eachent les fils de laine et de soie de devenir cassants avec le temps.<\/p>\r\n

Les secrets de fabrication d’un chef-d’\u0153uvre m\u00e9di\u00e9val<\/h3>\r\n

Un chef-d’\u0153uvre de la tapisserie se reconna\u00eet \u00e0 la finesse de son tissage. La densit\u00e9 des fils de cha\u00eene par centim\u00e8tre d\u00e9termine la qualit\u00e9 de l’ex\u00e9cution. La richesse des pigments naturels comme la gaude ou la garance assure la profondeur des couleurs. Sur la Tapisserie de l’Apocalypse<\/em>, l’envers est aussi soign\u00e9 que l’endroit. Cette r\u00e9versibilit\u00e9 parfaite t\u00e9moigne d’une ma\u00eetrise technique absolue des liciers parisiens. Le patrimoine textile fran\u00e7ais compte d’autres pi\u00e8ces iconiques. La Tapisserie de Bayeux<\/em> raconte quant \u00e0 elle la conqu\u00eate de l’Angleterre au XIe si\u00e8cle. La Dame \u00e0 la licorne<\/em> est un chef-d’\u0153uvre de la Renaissance visible au Mus\u00e9e de Cluny. Il ne faut pas oublier les c\u00e9l\u00e8bres tentures des Gobelins cr\u00e9\u00e9es sous Louis XIV. Ces \u0153uvres symbolisent l’excellence artisanale fran\u00e7aise \u00e0 travers les si\u00e8cles.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

La Tapisserie de l\u2019Apocalypse reste le plus grand ensemble textile m\u00e9di\u00e9val conserv\u00e9 au monde. Suspendue dans une demi-p\u00e9nombre au ch\u00e2teau d’Angers, cette \u0153uvre monumentale laisse chaque visiteur stup\u00e9fait. Elle se compose de 67 tableaux, contre 84 \u00e0 l’origine. Ses dimensions demeurent hors norme avec plus de 100 m\u00e8tres de long. Initialement, la tenture atteignait m\u00eame […]<\/p>\n","protected":false},"author":5,"featured_media":1981,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1166],"tags":[1456,1429],"class_list":["post-1980","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-masterpiece","tag-memoire-du-monde","tag-tapisserie"],"yoast_head":"\nTapisserie m\u00e9dievale : Le joyau d'Angers sauv\u00e9 de l\u2019Apocalypse - 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\/la-tapisserie-de-lapocalypse-un-joyau-dangers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tapisserie m\u00e9dievale : Le joyau d'Angers sauv\u00e9 de l\u2019Apocalypse - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"La Tapisserie de l\u2019Apocalypse reste le plus grand ensemble textile m\u00e9di\u00e9val conserv\u00e9 au monde. Suspendue dans une demi-p\u00e9nombre au ch\u00e2teau d’Angers, cette \u0153uvre monumentale laisse chaque visiteur stup\u00e9fait. Elle se compose de 67 tableaux, contre 84 \u00e0 l’origine. Ses dimensions demeurent hors norme avec plus de 100 m\u00e8tres de long. 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Suspendue dans une demi-p\u00e9nombre au ch\u00e2teau d’Angers, cette \u0153uvre monumentale laisse chaque visiteur stup\u00e9fait. Elle se compose de 67 tableaux, contre 84 \u00e0 l’origine. Ses dimensions demeurent hors norme avec plus de 100 m\u00e8tres de long. 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