{"id":5552,"date":"2025-11-04T16:15:07","date_gmt":"2025-11-04T15:15:07","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5552"},"modified":"2026-05-02T14:44:53","modified_gmt":"2026-05-02T12:44:53","slug":"chardin-panier-fraises-des-bois-orleans","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/chardin-panier-fraises-des-bois-orleans\/","title":{"rendered":"&#8220;Le Panier de fraises des bois&#8221;, tr\u00e9sor intimiste de Chardin"},"content":{"rendered":"<p><strong>Le Mus\u00e9e des Beaux-Arts d\u2019Orl\u00e9ans pr\u00e9sente <em>Le Panier de fraises des bois<\/em> (1761) de Chardin. Le chef-d\u2019\u0153uvre est un pr\u00eat du Mus\u00e9e du Louvre. Jusqu&#8217;au 11 janvier 2026.<\/strong><\/p>\n<h3><img decoding=\"async\" class=\" wp-image-5553 alignleft\" src=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2025\/11\/fraisier-chardin.jpg\" alt=\"\" width=\"285\" height=\"380\" srcset=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2025\/11\/fraisier-chardin.jpg 240w, https:\/\/great-artmag.com\/wp-content\/uploads\/2025\/11\/fraisier-chardin-225x300.jpg 225w\" sizes=\"(max-width: 285px) 100vw, 285px\" \/>Peindre l&#8217;ordinaire<\/h3>\n<p>Jean-Sim\u00e9on Chardin (1699-1779) occupe une place singuli\u00e8re dans l\u2019histoire de la peinture fran\u00e7aise. \u00c0 une \u00e9poque domin\u00e9e par le grand spectacle baroque, les grands formats mythologiques et les all\u00e9gories, Chardin choisit de peindre l\u2019ordinaire. Ses natures mortes, ses int\u00e9rieurs, ses humbles objets du quotidien sont d\u2019une grande sobri\u00e9t\u00e9. La lumi\u00e8re, les tons, les textures, sont port\u00e9s par un d\u00e9pouillement presque m\u00e9ditatif. Chardin a inspir\u00e9 des g\u00e9n\u00e9rations d\u2019artistes. Son influence s\u2019\u00e9tend jusqu\u2019aux Impressionnistes et aux Modernes. Sa ma\u00eetrise des masses chromatiques, son sens de la composition, trouvent un \u00e9cho chez Manet, Renoir ou encore C\u00e9zanne. Ils ont reconnu en lui l\u2019un des pr\u00e9curseurs de la modernit\u00e9 picturale.<\/p>\n<h3><em>Le Panier de fraises des bois<\/em> : une toile mythique<\/h3>\n<p>Peint en 1761, le <em>Panier de fraises des bois<\/em> (38 \u00d7 46 cm) est l\u2019un des joyaux tardifs de Chardin. Le petit format repr\u00e9sente un \u00ab haut tas conique de fraises des bois dans une corbeille, un verre d\u2019eau, une p\u00eache, deux cerises et deux \u0153illets blancs \u00bb. L&#8217;ensemble est dispos\u00e9 sur une table de bois. Que l\u2019on ne s\u2019y trompe pas ! Derri\u00e8re l\u2019apparente simplicit\u00e9 de cette composition, l\u2019\u0153uvre t\u00e9moigne d\u2019une perfection technique. En effet, Chardin ma\u00eetrise les masses, joue avec les transparences et les reflets. Il parvient ici\u00e0 conf\u00e9rer une pr\u00e9sence palpable aux fruits. \u00c0 62 ans, Chardin atteignait alors la maturit\u00e9, utilisant ces motifs les plus simples pour exprimer la quintessence formelle de son art. Un point d\u2019aboutissement dans la production de l\u2019artiste selon le critique Pierre Rosenberg.<\/p>\n<h4>Tr\u00e9sor national<\/h4>\n<p>Le 23 mars 2022, le <em>Panier de fraises des bois<\/em> a \u00e9t\u00e9 mis aux ench\u00e8res chez Artcurial. Record absolu ! Vendu 24 millions \u20ac, soit bien au-del\u00e0 de son estimation. Un record aussi pour une nature morte fran\u00e7aise du XVIII\u1d49 si\u00e8cle. Aussit\u00f4t, devant le risque d\u2019une exportation hors de France, le tableau avait \u00e9t\u00e9 class\u00e9 \u00ab tr\u00e9sor national \u00bb par le minist\u00e8re de la Culture, d\u00e9clenchant le droit de pr\u00e9emption. Gr\u00e2ce \u00e0 une mobilisation sans pr\u00e9c\u00e9dent, le Louvre a alors pu l\u2019acqu\u00e9rir officiellement le 12 mars 2024. Et ce, gr\u00e2ce \u00e0 une campagne de lev\u00e9e de fonds orchestr\u00e9e dans le cadre de son programme \u201cTous M\u00e9c\u00e8nes !\u201d Pr\u00e8s de 1,6 million d\u2019euros ont ainsi \u00e9t\u00e9 collect\u00e9s aupr\u00e8s d\u2019environ 10 000 donateurs. Une g\u00e9n\u00e9rosit\u00e9 populaire compl\u00e9t\u00e9e par le m\u00e9c\u00e9nat significatif de LVMH. Ce succ\u00e8s illustre non seulement l\u2019attachement du public fran\u00e7ais \u00e0 son patrimoine, mais aussi la reconnaissance de la valeur culturelle de la toile.<\/p>\n<h3>Un lien avec Orl\u00e9ans<\/h3>\n<p>Cette exposition au mus\u00e9e des Beaux-Arts d&#8217;Orl\u00e9ans n\u2019est pas purement symbolique. Il s\u2019appuie sur une histoire profond\u00e9ment enracin\u00e9e. L\u2019\u0153uvre appartenait en effet depuis le XIX\u1d49 si\u00e8cle \u00e0 la famille Marcille, en particulier Fran\u00e7ois Marcille (1790-1856). Ce dernier, issu d\u2019une famille de grainetiers en Beauce, s\u2019\u00e9tait passionn\u00e9 d\u00e8s les ann\u00e9es 1820 pour les ma\u00eetres du XVIII\u1d49 si\u00e8cle oubli\u00e9s. Il constitua ainsi l\u2019une des plus importantes collections de son temps. Avec environ 4 500 \u0153uvres dont une trentaine de Chardin. Apr\u00e8s sa mort, sa collection a \u00e9t\u00e9 r\u00e9partie entre ses fils. Camille, conservateur \u00e0 Chartres, et Eudoxe, directeur du mus\u00e9e d\u2019Orl\u00e9ans de 1870 \u00e0 1890. Ce dernier fit du mus\u00e9e un lieu de rayonnement en suscitant de nombreux dons.<\/p>\n<h3>Un h\u00e9ritage sauvegard\u00e9<\/h3>\n<p>L\u2019exposition &#8220;Les Chardin des Marcille. Une passion orl\u00e9anaise&#8221; rassemble des natures mortes pr\u00eat\u00e9es par le Mus\u00e9e Jacquemart-Andr\u00e9 \u00e0 Paris ou le Mus\u00e9e de Picardie. Sans oublier l\u2019<em>Autoportrait aux b\u00e9sicles<\/em> (1773), acquis par le mus\u00e9e d\u2019Orl\u00e9ans en 1991, et d\u00e9j\u00e0 cher aux Orl\u00e9anais. Le foulard \u00e0 carreaux que Chardin porte dans cette \u0153uvre est en effet un cadeau fait \u00e0 l\u2019artiste par un entrepreneur qui contribua \u00e0 faire d\u2019Orl\u00e9ans un centre artistique au XVIII\u1d49 si\u00e8cle. C\u2019est cette continuit\u00e9 que l\u2019exposition d\u2019Orl\u00e9ans met en avant gr\u00e2ce \u00e0 la t\u00e9nacit\u00e9 d\u2019Olivia Voisin, directrice du mus\u00e9e. Cette restitution symbolique et temporaire c\u00e9l\u00e8bre cette passion orl\u00e9anaise qui a contribu\u00e9 \u00e0 sauvegarder l\u2019h\u00e9ritage de l\u2019artiste.<\/p>\n<p>Aude Seyssel<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le Mus\u00e9e des Beaux-Arts d\u2019Orl\u00e9ans pr\u00e9sente Le Panier de fraises des bois (1761) de Chardin. Le chef-d\u2019\u0153uvre est un pr\u00eat du Mus\u00e9e du Louvre. Jusqu&#8217;au 11 janvier 2026. Peindre l&#8217;ordinaire Jean-Sim\u00e9on Chardin (1699-1779) occupe une place singuli\u00e8re dans l\u2019histoire de la peinture fran\u00e7aise. \u00c0 une \u00e9poque domin\u00e9e par le grand spectacle baroque, les grands formats [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":5554,"comment_status":"closed","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-5552","post","type-post","status-publish","format-standard","has-post-thumbnail","category-masterpiece"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>&quot;Le Panier de fraises des bois&quot;, tr\u00e9sor intimiste de Chardin - 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\/chardin-panier-fraises-des-bois-orleans\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"&quot;Le Panier de fraises des bois&quot;, tr\u00e9sor intimiste de Chardin - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Le Mus\u00e9e des Beaux-Arts d\u2019Orl\u00e9ans pr\u00e9sente Le Panier de fraises des bois (1761) de Chardin. 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