{"id":95682,"date":"2021-04-28T10:09:29","date_gmt":"2021-04-28T08:09:29","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95682"},"modified":"2021-04-28T10:09:29","modified_gmt":"2021-04-28T08:09:29","slug":"b42","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b42\/","title":{"rendered":"Odilon Pain"},"content":{"rendered":"\n

Le travail du peintre fran\u00e7ais Odilon Pain participe souvent d\u2019une forme de cr\u00e9olisation des styles et des techniques,<\/span> qui conf\u00e8re\u00a0une dimension exotique \u00e0 son travail. En l\u2019occurrence, nous pr\u00e9sentons une importante composition, aux textures color\u00e9es et bariol\u00e9es reprenant une architecture renaissante, typique de celle que l\u2019on associe aux sc\u00e8nes de l\u2019Annonciation dans la peinture de la Renaissance italienne, et symbolique \u00e0 l\u2019\u00e9poque de l\u2019ordre nouveau que le sujet \u00e9tait cens\u00e9 annoncer. La composition architecturale est ici reprise \u00e0 une Annonciation de Francesco del Cossa, d\u00fbment d\u00e9barrass\u00e9e de ses figures sacr\u00e9es. L\u2019examen attentif du tableau nous en r\u00e9v\u00e8le d\u2019autres aspects marquants. En r\u00e9alit\u00e9, cette grande toile n\u2019est que tr\u00e8s partiellement peinte. La majorit\u00e9 bariol\u00e9e de la composition est en effet constitu\u00e9e d\u2019un assemblage mosa\u00efqu\u00e9 de waxes<\/em>,<\/span> ces tissus imprim\u00e9s et cir\u00e9s si populaires en Afrique Centrale et dont l\u2019histoire ajoute des strates signifiantes suppl\u00e9mentaires \u00e0 leur utilisation par Odilon Pain. Les waxes<\/em> tirent en effet leur origine des tissus batik<\/em> que les N\u00e9erlandais d\u00e9couvrirent dans leurs colonies des Indes Orientales, l\u2019actuelle Indon\u00e9sie. <\/span>Tr\u00e8s vite, ils saisirent l\u2019avantage de leur utilisation dans leur commerce triangulaire qu\u2019ils \u00e9tablirent avec leurs comptoirs africains et indiens. Les Britanniques furent, pour les m\u00eames raisons de concurrence, les premiers \u00e0 en d\u00e9velopper une production manufacturi\u00e8re (d\u2019o\u00f9 la d\u00e9nomination ,toujours en vigueur, de ces tissus), bient\u00f4t rattrap\u00e9s par les n\u00e9erlandais qui dominent actuellement le march\u00e9 mondial. Nous nous retrouvons confront\u00e9s \u00e0 l\u2019utilisation d\u2019un mat\u00e9riau embl\u00e9matique de l\u2019histoire de la pollinisation crois\u00e9e et globalis\u00e9e de nos produits\/mat\u00e9riaux culturels : une technique venant d\u2019Extr\u00eame\u2011Orient, adopt\u00e9e et investie par les occidentaux, que se sont r\u00e9\u2011appropri\u00e9e les nations d\u2019Afrique Centrale, avec un arri\u00e8re\u2011fond d\u2019imp\u00e9rialisme \u00e9conomique qui persiste, le tout appliqu\u00e9 et r\u00e9investi sur une iconographie typiquement occidentale, symbolique d\u2019une \u00e9poque de transition<\/span> et ici d\u00e9barrass\u00e9e de ses figures\/personnages humains\u2026 D\u00e8s lors, la composition d\u2019Odilon Pain devient une illustration implicite, efficace et circonstanci\u00e9e des in\u00e9vitables et incessants flux et \u00e9changes culturels que tentent de r\u00e9futer les mouvements nationalistes. Cela interpelle d\u2019autant plus dans une \u00e9poque de basculement comme la n\u00f4tre o\u00f9 l\u2019humanit\u00e9 toute enti\u00e8re se voit dans l\u2019obligation de questionner sa place et son rapport \u00e0 une appr\u00e9hension \u00e9largie, \u00e0 la fois culturelle et naturelle, de la notion d\u2019environnement.<\/p>\n\n\n\n

English<\/h2>\n\n\n\n

The work of the French painter Odilon Pain often applies a form of creolization of styles and techniques, which lends it an exotic dimension.<\/span> In this case, we present a large composition with colourful and motley textures incorporating Renaissance architecture, typical of that associated with the scenes of the Annunciation in Italian Renaissance painting, and symbolic at the time of the new order that the subject was supposed to announce. In this case, the architectural composition is taken from an Annunciation by Francesco del Cossa, duly stripped of its sacred figures. However, a close examination of the painting\u2019s composition reveals other striking aspects. In reality, this large canvas is only very partially painted. The motley majority of the composition is in fact made up of a mosaic assemblage of waxes,<\/em> those printed and waxed fabrics so popular in Central Africa and whose history adds additional layers of signifiers to their use by Odilon Pain. Waxes<\/em> originate from the batik fabrics that the Dutch discovered in their colonies in the East Indies, now Indonesia. <\/span>They soon recognized the advantage of their use in their triangular trade which they established with their African and Indian counterparts. The British were, for the same reasons of competition, the first to develop a manufacturing production (hence the name still used for these fabrics), but were soon overtaken by the Dutch who currently dominate the world market. In this case, we find ourselves confronted with the use of a material that is emblematic of the history of the cross-pollination and globalisation of our products\/cultural materials: a technique coming from the Far East, adopted and commercialized by Westerners, which the nations of Central Africa have re-appropriated, with a background of economic imperialism that persists, all applied and reinvested in a typically Western iconography, symbolic of a period of transition and here stripped of its figures\/human characters\u2026<\/span> An effective and detailed illustration of these inevitable cultural flows and exchanges that nationalist traditions try to refute, in a period when mankind also finds itself forced to question its place and relationship to a broader understanding of the notion of cultural and natural environment.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95682","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}