{"id":32753,"date":"2025-06-03T17:00:16","date_gmt":"2025-06-03T15:00:16","guid":{"rendered":"https:\/\/academy.vg\/2025\/06\/03\/de-profundis-un-vrai-faux-van-gogh\/"},"modified":"2025-06-03T17:58:56","modified_gmt":"2025-06-03T15:58:56","slug":"de-profundis-un-vrai-faux-van-gogh","status":"publish","type":"post","link":"https:\/\/academy.vg\/fr\/2025\/06\/03\/de-profundis-un-vrai-faux-van-gogh\/","title":{"rendered":"De Profundis : un vrai faux Van Gogh"},"content":{"rendered":"
<\/a><\/span><\/div>

Le dos du tableau<\/p>\n<\/div><\/div><\/div>

Depuis que nous avons mis en place une politique contraignante au sujet des demandes d\u2019authentification, d\u2019attribution ou d\u2019expertise, leur nombre a consid\u00e9rablement baiss\u00e9. Je ne dirais pas que cela me manque \u2013 m\u00eame s\u2019il y a toujours quelque chose de fascinant dans ces d\u00e9marches, qui sentent souvent le r\u00eave et parfois\u2026 l\u2019escroquerie.<\/p>\n

 <\/p>\n

La personne qui nous a soumis l\u2019image suivante a eu la g\u00e9n\u00e9rosit\u00e9 de faire un don \u00e0 la Van Gogh Academy, d\u2019en devenir membre et de nous autoriser \u00e0 publier notre avis, neutre et d\u00e9sint\u00e9ress\u00e9. Qu\u2019elle en soit vivement remerci\u00e9e. Cela nous permet d\u2019aller toujours plus loin et de faire progresser les connaissances sur la vie et l\u2019\u0153uvre de Vincent van Gogh. Je pr\u00e9cise d\u2019embl\u00e9e que cette personne, et c\u2019est rare, est elle-m\u00eame convaincue qu\u2019il s\u2019agit d\u2019un faux grotesque. Nous ne savons pas si elle est propri\u00e9taire du tableau.<\/p>\n<\/div>

<\/span><\/div>
<\/div><\/div><\/span>

La couleur<\/h2><\/span>
<\/div><\/div><\/div>

Je n\u2019ai pas besoin de regarder ce tableau plus de quelques secondes pour me convaincre qu\u2019effectivement, il ne s\u2019agit pas d\u2019un Van Gogh. Avant m\u00eame de voir la forme pr\u00e9cise des touches, ce qui frappe est le d\u00e9s\u00e9quilibre absolu des couleurs. Van Gogh calculait les tons, les valeurs, selon des principes rigoureux, avec une sensibilit\u00e9 extraordinaire. C\u2019est ce qui lui permettait d\u2019obtenir des effets puissants et harmoniques.<\/p>\n

 <\/p>\n

Il \u00e9voquait dans ses lettres la recherche de symphonies de couleurs. Une m\u00e9taphore qui prend tout son sens quand on se souvient que les couleurs ne sont, au fond, que des longueurs d\u2019onde de la lumi\u00e8re \u2014 tout comme les sons sont des ondes perceptibles par l\u2019oreille. Certaines combinaisons visuelles, comme certains accords musicaux, se renforcent mutuellement et produisent une harmonie. D\u2019autres entrent en tension, cr\u00e9ant des effets comparables \u00e0 une dissonance musicale \u2014 comme si l\u2019on appuyait sur plusieurs touches voisines d\u2019un piano : une vibration confuse et d\u00e9rangeante. Le tableau dont il est question ici est le r\u00e9sultat d\u2019une telle confusion. Le peintre a voulu convoquer toute la gamme des tons et couleurs en m\u00eame temps, produisant un chaos colorim\u00e9trique assez \u00e9pouvantable, \u00e0 des ann\u00e9es-lumi\u00e8re de la pratique et de la m\u00e9thode coh\u00e9rente et logique de Van Gogh.<\/p>\n

A une remarque qualitative de ce type, on oppose parfois que Van Gogh pouvait avoir un mauvais jour. Un argument que j\u2019utilise aussi lorsque je constate que d\u2019aucuns estiment que tel ou tel tableau de la derni\u00e8re p\u00e9riode de Van Gogh ne saurait \u00eatre de sa mai sous pr\u00e9texte qu\u2019il serait mal ex\u00e9cut\u00e9 \u2013 comme si tout ce qui sortait de son pinceau \u00e9tait n\u00e9cessairement g\u00e9nial. Bien s\u00fbr, comme tout le monde, Van Gogh avait de mauvais jours, et ratait parfois ses effets. Mais il ratait en tentant d\u2019appliquer sa m\u00e9thode, pas en oubliant comment fonctionnaient les ingr\u00e9dients principaux de sa peinture. Et ce sont ces ingr\u00e9dients qui sont cruellement absents du tableau pr\u00e9sent\u00e9 ici.<\/span><\/p>\n<\/div>

<\/span><\/div>
<\/div><\/div><\/span>

Un probable faux<\/h2><\/span>
<\/div><\/div><\/div>

Nous pourrions nous attarder sur les formes, mais c\u2019est inutile. Tout ce bazar manque de l\u2019\u00e9nergie juste, de la force ma\u00eetris\u00e9e de Van Gogh, qui bannit l\u2019h\u00e9sitation de ses gestes. Rien ne tremble, rien n\u2019est pos\u00e9 \u00e0 demi comme c\u2019est le cas \u00e0 peu pr\u00e8s partout ici.<\/p>\n

 <\/p>\n

Le tableau pourrait \u00eatre l\u2019\u0153uvre d\u2019un admirateur soucieux de suivre, en \u00e9l\u00e8ve appliqu\u00e9, les pas de son ma\u00eetre. Mais le toile est sign\u00e9e d\u2019un \u00ab\u00a0Vincent\u00a0\u00bb mou, soulign\u00e9 en rouge. Et m\u00eame si je tente de rester ouvert d\u2019esprit et d\u2019imaginer des cultures o\u00f9 la reprise d\u2019une signature puisse participer \u00e0 l\u2019hommage rendu, je crois plus probable qu\u2019en l\u2019esp\u00e8ce, il y a une volont\u00e9 malhonn\u00eate de faire passer un patchwork cr\u00e9tin pour un authentique Van Gogh.<\/p>\n

 <\/p>\n

Vraiment, on ne peut s\u2019emp\u00eacher de penser \u00e0 ce qu\u2019\u00e9crivait l\u2019illustre Gustave Coquiot, dans Des peintres maudits<\/em> (1924)\u00a0: \u00ab\u00a0Il faut d\u00e9cid\u00e9ment \u2014 j’y reviens une derni\u00e8re fois \u2014 que les amateurs soient avant tout de sinistres cr\u00e9tins pour qu’on puisse leur faire avaler tant d’attributions erron\u00e9es, tant de choses cro\u00fbteuses, falsifi\u00e9es, sophistiqu\u00e9es\u00a0! Car toute peinture bossu\u00e9e de raclures de palette, des jaunes violents, des rouges vifs, des verts V\u00e9ron\u00e8se, voil\u00e0, voil\u00e0 un Van Gogh ! voil\u00e0 un Van Gogh de la belle p\u00e9riode, de la p\u00e9riode d’Arles, s’il vous pla\u00eet ! Ah ! la joyeuse cur\u00e9e !\u00a0\u00bb<\/p>\n

 <\/p>\n

 <\/p>\n

La b\u00eatise des faussaires surprend parfois par sa profondeur. Ici, c\u2019est au dos de la toile qu\u2019elle se manifeste dans toute son abyssale splendeur\u00a0: on y retrouve, suffisamment effac\u00e9 pour faire vieux et vrai, une reproduction du faire-part de d\u00e9c\u00e8s de Van Gogh. Y compris la mention du lieu de la c\u00e9r\u00e9monie, l\u2019\u00c9glise d\u2019Auvers-sur-Oise, barr\u00e9e par Theo\u2026 Quelle intention se cache-t-elle derri\u00e8re ce document curieusement appos\u00e9, que j\u2019ai d\u00e9j\u00e0 vu sur d\u2019autres faux manifestes, alors pr\u00e9sent\u00e9 comme un t\u00e9moignage d\u2019authenticit\u00e9\u00a0?<\/p>\n

Impossible \u00e0 dire. Mais ce qui est absolument clair, c\u2019est que ce champ de coquelicots qui tente la synth\u00e8se entre la Nuit \u00e9toil\u00e9e<\/em> et une bouillabaisse de paysages niais, n\u2019est pas un Van Gogh.<\/span><\/p>\n<\/div>

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