{"id":15995,"date":"2026-03-15T10:25:58","date_gmt":"2026-03-15T09:25:58","guid":{"rendered":"https:\/\/www.forbes.be\/fr\/?p=15995"},"modified":"2026-03-17T10:06:16","modified_gmt":"2026-03-17T09:06:16","slug":"leon-spilliaert-lostendais-a-paris","status":"publish","type":"post","link":"https:\/\/www.forbes.be\/fr\/leon-spilliaert-lostendais-a-paris\/","title":{"rendered":"L\u00e9on Spilliaert : l\u2019Ostendais \u00e0 Paris"},"content":{"rendered":"

Apr\u00e8s New York en 2025, Zwirner, l\u2019une des galeries mondiales majeures, re\u00e7oit le g\u00e9nie d\u2019Ostende.<\/strong><\/p>\n

Cette exposition parisienne chez David Zwirner<\/strong> est propos\u00e9e par les Belges No\u00e9mie Goldman<\/strong> et Anne Adriaens-Pannier<\/strong>. \u00ab Souvent associ\u00e9 aux symbolistes, notamment Knopff et Ensor, Spilliaert est un artiste du XXe si\u00e8cle : sa premi\u00e8re \u0153uvre date de 1901, et ses visions d\u2019Ostende aux courbes infinies si modernes touchent \u00e0 l\u2019abstraction.<\/em> \u00bb<\/p>\n

\u00c0 Ostende, que le roi L\u00e9opold<\/strong> avait d\u00e9cid\u00e9 de transformer en \u00ab\u00a0reine des plages\u00a0\u00bb, Spilliaert<\/strong> se prom\u00e8ne de nuit, nourrit son regard onirique de ce littoral rectiligne.
\nDans La Courbe de la digue<\/em> (1908), le paysage \u00e9tir\u00e9 est d\u2019une profondeur qui para\u00eet impossible. \u00ab Sa ma\u00eetrise du lavis y insuffle une po\u00e9sie visuelle<\/em>, souligne No\u00e9mie Goldman<\/strong>. Peu d’artistes ont r\u00e9ussi ces d\u00e9grad\u00e9s subtils avec un simple m\u00e9lange d’encre et d\u2019eau. Un fin rayon de lumi\u00e8re est r\u00e9duit \u00e0 un trait, et la partie inf\u00e9rieure de la composition devient abstraite.<\/em> \u00bb<\/p>\n

\"\"
\u00a9 DR<\/figcaption><\/figure>\n

Int\u00e9rieurs r\u00eaveurs<\/h2>\n

Ses int\u00e9rieurs ne sont pas moins r\u00eav\u00e9s. Vers 1907-1909, sa s\u00e9rie de flacons, qui ont tous une personnalit\u00e9, se regarde comme des portraits. \u00ab Son p\u00e8re \u00e9tant cr\u00e9ateur de parfums, le flacon est un objet autobiographique.<\/em> \u00bb Entre 1909 et 1917, il travaille la couleur, le reflet, la transparence : le Spilliaert<\/strong> sombre et m\u00e9lancolique se repr\u00e9sente dans des autoportraits entour\u00e9s d\u2019une aura.<\/p>\n

Deux \u0153uvres de l’exposition se r\u00e9f\u00e8rent aux \u00e9crits de Maurice Materlinck<\/strong>, dont il a illustr\u00e9 le th\u00e9\u00e2tre, de 1901 \u00e0 1913, dans trois volumes conserv\u00e9s aux Mus\u00e9es Royaux des Beaux-Arts<\/strong> de Bruxelles. C\u2019est l\u00e0 que vient la figure de femme r\u00eaveuse de la Princesse Maleine<\/em> (cr\u00e9\u00e9e en 1917, l\u2019ann\u00e9e de son mariage) qui regarde vers un ailleurs, typique du th\u00e9\u00e2tre du dramaturge. La lumi\u00e8re dor\u00e9e de l’ext\u00e9rieur contraste avec l\u2019avant-plan qui \u00e9voque une tombe. L\u2019int\u00e9rieur de Spilliaert<\/strong> ne sera d\u00e8s lors plus solitaire et peupl\u00e9 d\u2019objets inanim\u00e9s, mais partag\u00e9 avec sa femme.<\/p>\n

Les serres chaudes, autre illustration de Maeterlinck<\/strong>, \u00e9claire le lien entre l\u2019artiste et la nature. La repr\u00e9sentation des plantes et des arbres architectur\u00e9s, aux branches fragiles, comme chez le Mondrian<\/strong> des d\u00e9buts, repr\u00e9sente une part intime de l’angoisse humaine.
\nEnfin, l’exposition s\u2019ach\u00e8ve avec Barque dans la temp\u00eate<\/em> (1921), une marine qui semble parler de vie et de mort.<\/p>\n

Toutes les \u0153uvres viennent de la famille et de collections priv\u00e9es belges et, sauf les deux autoportraits, sont toutes \u00e0 vendre (\u00e0 partir de 80 000 euros).<\/p>\n

En 2027-28, ce sera au tour de The Mesnil Collection (Houston) et du Philadelphia Museum of Art de le pr\u00e9senter aux regards am\u00e9ricains, avec des \u0153uvres pr\u00eat\u00e9es par la galerie Patrick Derom.<\/p>\n

Fin le 28.03
\nwww.davidzwirner.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Apr\u00e8s New York en 2025, Zwirner, l\u2019une des galeries mondiales majeures, re\u00e7oit le g\u00e9nie d\u2019Ostende. Cette exposition parisienne chez David Zwirner est propos\u00e9e par les Belges No\u00e9mie Goldman et Anne Adriaens-Pannier. \u00ab Souvent associ\u00e9 aux symbolistes, notamment Knopff et Ensor, Spilliaert est un artiste du XXe si\u00e8cle : sa premi\u00e8re \u0153uvre date de 1901, et […]<\/p>\n","protected":false},"author":27,"featured_media":15996,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[63,62],"tags":[],"class_list":{"0":"post-15995","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture","8":"category-marche-de-lart"},"acf":[],"_yoast_wpseo_title":null,"_yoast_wpseo_metadesc":"La galerie David Zwirner \u00e0 Paris consacre une exposition \u00e0 L\u00e9on Spilliaert, ma\u00eetre symboliste belge dont les paysages d\u2019Ostende annoncent l\u2019abstraction.","auteur_traducteur":"","yoast_head":"\nL\u00e9on Spilliaert : l\u2019Ostendais \u00e0 Paris | Forbes Belgique<\/title>\n<meta name=\"description\" content=\"La galerie David Zwirner \u00e0 Paris consacre une exposition \u00e0 L\u00e9on Spilliaert, ma\u00eetre symboliste belge dont les paysages d\u2019Ostende annoncent l\u2019abstraction.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.forbes.be\/fr\/leon-spilliaert-lostendais-a-paris\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u00e9on Spilliaert : l\u2019Ostendais \u00e0 Paris | Forbes Belgique\" \/>\n<meta property=\"og:description\" content=\"La galerie David Zwirner \u00e0 Paris consacre une exposition \u00e0 L\u00e9on Spilliaert, ma\u00eetre symboliste belge dont les paysages 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R\u00e9dacteur en chef pendant 7 ans de la revue Pouvoirs Locaux, consacr\u00e9e aux politiques culturelles, il a publi\u00e9 huit ouvrages chez des \u00e9diteurs fran\u00e7ais et belges, dont deux romans, un essai consacr\u00e9 \u00e0 Orson Welles, et quatre livres d\u2019art. 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