{"id":631,"date":"2016-06-06T23:58:27","date_gmt":"2016-06-06T21:58:27","guid":{"rendered":"https:\/\/unik-artmag.com\/?p=631"},"modified":"2026-05-18T11:39:06","modified_gmt":"2026-05-18T09:39:06","slug":"francis-bacon-man-in-blue-vii-un-cri-jusquau-bout-de-la-nuit","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/francis-bacon-man-in-blue-vii-un-cri-jusquau-bout-de-la-nuit\/","title":{"rendered":"Francis Bacon, “Man in Blue VII” : Un cri est en vente chez Christie’s"},"content":{"rendered":"

Man in Blue VII est le septi\u00e8me et dernier portrait d’une c\u00e9l\u00e8bre s\u00e9rie d’huiles sur toile r\u00e9alis\u00e9e par le peintre figuratif britannique Francis Bacon en 1954. \u0152uvre expos\u00e9e au pavillon britannique lors de la Biennale de Venise cette m\u00eame ann\u00e9e, ce chef-d’\u0153uvre capture l’ali\u00e9nation de l’homme moderne. Issu de la prestigieuse collection Zeineb et Jean-Pierre Marcie-Rivi\u00e8re, ce tableau a \u00e9t\u00e9 mis aux ench\u00e8res chez Christie’s \u00e0 Paris. Il s’impose comme une pi\u00e8ce ma\u00eetresse de l’histoire de l’art du XXe si\u00e8cle.<\/strong><\/p>\n

\"\"L’origine de l’\u0153uvre et la rupture th\u00e9matique de l’artiste<\/h3>\n

S’inscrivant dans la continuit\u00e9 des portraits expressionnistes initi\u00e9s au d\u00e9but des ann\u00e9es 1950, cette toile marque un tournant th\u00e9matique dans la carri\u00e8re de Francis Bacon. Apr\u00e8s s’\u00eatre attaqu\u00e9 aux hauts dignitaires de l’\u00c9glise \u00e0 travers sa c\u00e9l\u00e8bre et pol\u00e9mique r\u00e9interpr\u00e9tation du portrait du Pape Innocent X par Vel\u00e1zquez, le peintre d\u00e9place son regard ac\u00e9r\u00e9 vers une nouvelle figure de pouvoir. Il s’en prend ici au nouveau veau d’or qu’est le monde capitaliste, dont il pressent la violence sourde et invisible. Contrairement \u00e0 ses habitudes de travail qui reposaient essentiellement sur des photographies, des documents d’archives ou des photogrammes de films, Bacon s’inspire ici d’une rencontre r\u00e9elle. Le tableau d\u00e9peint la silhouette sombre d’un homme d’affaires anonyme, crois\u00e9 au bar de l’Imperial Hotel de Henley-on-Thames. C’est l’une des rares repr\u00e9sentations d’apr\u00e8s nature de l’artiste.<\/p>\n

L’\u00e9volution technique du ma\u00eetre de la trag\u00e9die en 1954<\/h3>\n

L’ann\u00e9e 1954 formalise une \u00e9volution technique majeure dans l’esth\u00e9tique de Francis Bacon. Le peintre utilise d\u00e9sormais une m\u00e9thode sp\u00e9cifique par application de fines couches d’huile et de t\u00e9r\u00e9benthine, ce qui rend la mati\u00e8re peinte beaucoup plus transparente et fluide. Le coup de pinceau gagne en vigueur tandis que le fond, oscillant de mani\u00e8re vibrante entre le bleu marine profond et le noir, offre une texture velout\u00e9e in\u00e9dite. C’est dans cet espace sombre que l’artiste d\u00e9ploie son motif r\u00e9current de la cage, une structure lin\u00e9aire qui isole le sujet et accentue l’effet de verticalit\u00e9 d’un fond lac\u00e9r\u00e9 et luisant.<\/p>\n

Le sens du portrait et la recherche de la sensation brute<\/h3>\n

Rendre le cri humain a \u00e9t\u00e9 le sujet de toute la vie de Francis Bacon, une qu\u00eate qui trouve une r\u00e9sonance particuli\u00e8re dans ce septi\u00e8me volet. L’artiste d\u00e9forme le visage au-del\u00e0 des apparences physiques pour atteindre la v\u00e9rit\u00e9 psychologique. Les dents blanches d’un sourire grima\u00e7ant travers\u00e9 de vanit\u00e9 contrastent cruellement avec le col montant \u00e9clatant, symbole de respectabilit\u00e9 sociale et de r\u00e9ussite. Pour expliquer sa d\u00e9marche de d\u00e9construction, Bacon aimait citer l’\u00e9crivain Paul Val\u00e9ry en affirmant que l’art moderne veut le sourire sans le chat. Par cette m\u00e9taphore, il signifiait sa volont\u00e9 d’extraire la sensation pure en la d\u00e9barrassant de l’ennui du moyen de transmission narratif. L’\u0153uvre devient ainsi la figure m\u00eame du sensationnel, projetant sur le spectateur une sensation vive et violente qui touche directement le syst\u00e8me nerveux.<\/p>\n","protected":false},"excerpt":{"rendered":"

“Man In Blue VII” est le 7e portrait d’une s\u00e9rie sign\u00e9e Francis Bacon. Expos\u00e9 \u00e0 la Biennale de Venise en 1954, il repr\u00e9sentait l’\u0153uvre majeure du pavillon britannique. Il se visite tous les jours jusqu’au 8 juin.<\/p>\n","protected":false},"author":1,"featured_media":1168,"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":[1180,1386,1181,1462],"class_list":["post-631","post","type-post","status-publish","format-standard","has-post-thumbnail","category-masterpiece","tag-francis-bacon","tag-marche-de-lart","tag-masterpiece","tag-secret-de-fabrication"],"yoast_head":"\nFrancis Bacon, "Man in Blue VII" : Un cri est en vente chez Christie's<\/title>\n<meta name=\"description\" content=\""Man In Blue VII" est le 7e portrait d'une s\u00e9rie sign\u00e9e Francis Bacon. 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