{"id":4786,"date":"2025-12-19T18:14:01","date_gmt":"2025-12-19T17:14:01","guid":{"rendered":"https:\/\/revuedestemps.com\/?p=4786"},"modified":"2026-05-16T23:04:49","modified_gmt":"2026-05-16T21:04:49","slug":"les-vanites-de-philippe-pasqua","status":"publish","type":"post","link":"https:\/\/revuedestemps.com\/index.php\/2025\/12\/19\/les-vanites-de-philippe-pasqua\/","title":{"rendered":"Les vanit\u00e9s de Philippe Pasqua."},"content":{"rendered":"\n

<\/p>\n\n\n

Des habituels symboles all\u00e9goriques de la mort, du temps qui passe, de la vacuit\u00e9 des passions et des activit\u00e9s humaines, Philippe Pasqua (n\u00e9 en 1965 \u00e0 Grasse) ne conserve que le cr\u00e2ne et les papillons, concentrant ainsi son attention sur l’Homme, plac\u00e9 au centre de sa r\u00e9flexion. Les signes mat\u00e9rialistes pr\u00e9sents sur les tableaux du XVIIe si\u00e8cle ont disparu au profit de tout ce qui reste \u00e0 l’origine de ses cr\u00e9ations : la bo\u00eete cr\u00e2nienne, rehauss\u00e9e d’une trace couleur. D\u00e9sir de vivre ou rature ironique ?<\/h3>\n

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Orso, huile sur toile (2010).<\/em><\/p>\n

Il change de point de vue et extirpe l’Homme existant dans le monde pour se concentrer sur l’individu lui-m\u00eame… Seul, le cr\u00e2ne flotte sur un fond absent, sans profondeur, \u00e9vanescent ; paradis blanc ou n\u00e9ant vid\u00e9 de sens ? Sans que l’on puisse le rapporter \u00e0 un quelconque espace, le cr\u00e2ne, vestige d’existence, erre au milieu de nulle part : nouvelle all\u00e9gorie du monde, vid\u00e9 de ses ostentations. Rien qui incarne la vie du d\u00e9funt, l’ascension sociale ou intellectuelle. La mort sonne-t-elle ici comme un soulagement, signifiant que la lutte pour la survie ou l’accumulation, la protection des biens et la qu\u00eate de s\u00e9curit\u00e9 est enfin achev\u00e9e ? Ici l’\u00eatre s’est d\u00e9pouill\u00e9 de ses cha\u00eenes, de son fardeau et peut enfin s’\u00e9lever.<\/h3>\n

Pasqua apporte ainsi une autre dimension aux vanit\u00e9s en op\u00e9rant cette ablation du monde physique, ce corps commun dans lequel chacun s’incarne. Pasqua revient ainsi \u00e0 l’essentiel : l’Homme et son \u00e2me, laquelle semble tout juste avoir quitt\u00e9 le corps, et qui est symbolis\u00e9e symbolis\u00e9e par les papillons. Platon ne disait- il pas que l’\u00e2me, parfaite et prisonni\u00e8re du corps durant la vie, \u00e9tait lib\u00e9r\u00e9e lors du dernier souffle pour retrouver le monde supr\u00eame des Id\u00e9es ?<\/h3>\n

Du cr\u00e2ne aux chairs.<\/strong><\/h2>\n

Celui que l\u2019on peut surnommer \u201cl\u2019homme aux mille cr\u00e2nes\u201d<\/em> se distingue par un autre genre de vanit\u00e9s : ses visages en TR\u00c8S gros plan, et dont l\u2019anatomie \u00e0 vif rend compte de la futilit\u00e9 de la chair, de la non-valeur de la somme des existences, devenues vanit\u00e9s naturelles parmi les vanit\u00e9s artificielles.<\/h3>\n

Ses personnages ont l\u2019air de morts-vivants, ils sont entre deux mondes. Les regards sont mornes, directs, froids, d\u00e9nu\u00e9s d\u2019illusions. La palette chromatique sugg\u00e8re la d\u00e9composition.<\/h3>\n

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Aora, huile sur toile (2010).<\/em><\/p>\n

\u00ab C\u2019est bien dans le corps, dans la chair, que finalement s\u2019\u00e9crit l\u2019histoire des hommes, et peut-\u00eatre m\u00eame l\u2019histoire de l\u2019art \u00bb<\/em> explique Jean Rustin \u00e0 propos de la peinture de Pasqua. Le corps devient le temple de l’\u00e9ph\u00e9m\u00e8re, de la mort en attente au c\u0153ur des cellules et ce, d\u00e8s leur formation. Termin\u00e9e la distance avec le monde \u00e9tablie par un syst\u00e8me symbolique qui n’ose pas prendre son sujet pour exemple.<\/h3>\n

Ultime vanit\u00e9 : l’Homme.<\/strong><\/h2>\n

L’Homme est lui-m\u00eame pris pour objet de vanit\u00e9, un produit qui s’impose comme une image objectiv\u00e9e du monde de consommation. L’Homme ici n’est plus per\u00e7u comme un vivant, mais comme une marchandise ordinaire. Pasqua remplace l’encensier par l’odeur du macchab\u00e9 : t\u00eates \u00e0 moiti\u00e9 effac\u00e9es aux contours flous en train de dispara\u00eetre presque \u00e0 vue d\u2019\u0153il, des couleurs sans vie, en d\u00e9grad\u00e9s.<\/h3>\n

Des anatomies endolories, o\u00f9 une certaine volupt\u00e9 rencontre la cruaut\u00e9 des \u00e9motions sensibles. Tout le syst\u00e8me sanguin est rappel\u00e9, entre vie et mort, par les tons rouges, roses mais aussi enfl\u00e9s, boursoufl\u00e9s, comme tum\u00e9fi\u00e9s.<\/h3>\n

\"\"<\/a><\/p>\n

Philippine, huile sur toile (2010).<\/em><\/p>\n

Le corps est trait\u00e9 avec insignifiance. Pasqua met en ab\u00eeme l’incapacit\u00e9 des mortels \u00e0 prouver l\u2019existence de l\u2019\u00e2me, l’impuissance de la foi, avant et apr\u00e8s la mort, proclamant ainsi l\u2019impossibilit\u00e9 de s\u2019incarner en \u00eatre spirituel.<\/h3>\n

Le conte social qui d\u00e9sire l’av\u00e8nement du surmoi freudien, du surhomme nietzsch\u00e9en, de la raison comme salut et gage de v\u00e9rit\u00e9 dans le syst\u00e8me cart\u00e9sien : \u00ab\u00a0Tout \u00e7a, parole d’humus !\u00a0\u00bb<\/em> semble proclamer Pasqua.<\/h3>\n

Les papillons.<\/strong><\/h2>\n

Le papillon symbolise l’\u00e9ph\u00e9m\u00e8re, la vie r\u00e9duite \u00e0 une seule et unique journ\u00e9e – contrepoint \u00e0 la notion d’\u00e9ternit\u00e9. C’est le cr\u00e2ne qui symbolise l’analogie et figure l’\u00e9galit\u00e9 existant entre tous les \u00eatres mortels, quelque soit leur esp\u00e8ce. Il d\u00e9sacralise l’Homme et montre l’\u00e9galit\u00e9 (la seule qui soit) entre individus.<\/h3>\n

<\/p>\n

Vanit\u00e9 aux papillons (2010).<\/em><\/p>\n

Nous sommes dot\u00e9s de raison, d’intelligence, d’une conscience r\u00e9flexive qui nous permet d’approcher les myst\u00e8res de l’existence, et pourtant, nous mourrons dans l’indiff\u00e9rence. La vie humaine est aussi fragile que celle du papillon. Pourtant fr\u00eale, le papillon vit son unique journ\u00e9e de fa\u00e7on totale.<\/h3>\n

Qu’en est-il de l’Homme ? Il semble d\u00e9tenir son funeste destin entre ses mains.<\/h3>\n

\u00a9\ufe0f Marion Gisquet, journaliste et auteure.<\/h3>\n

\"\"<\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Des habituels symboles all\u00e9goriques de la mort, du temps qui passe, de la vacuit\u00e9 des passions et des activit\u00e9s humaines, Philippe Pasqua (n\u00e9 en 1965 \u00e0 Grasse) ne conserve que le cr\u00e2ne et les papillons, concentrant ainsi son attention sur l’Homme, plac\u00e9 au centre de sa r\u00e9flexion. Les signes mat\u00e9rialistes pr\u00e9sents sur les tableaux du […]<\/p>\n","protected":false},"author":28,"featured_media":4795,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,13],"tags":[60],"class_list":["post-4786","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-inventions","tag-decembre2025"],"yoast_head":"\nLes vanit\u00e9s de Philippe Pasqua. - Revue des Temps<\/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:\/\/revuedestemps.com\/index.php\/2025\/12\/19\/les-vanites-de-philippe-pasqua\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les vanit\u00e9s de Philippe Pasqua. - Revue des Temps\" \/>\n<meta property=\"og:description\" content=\"Des habituels symboles all\u00e9goriques de la mort, du temps qui passe, de la vacuit\u00e9 des passions et des activit\u00e9s humaines, Philippe Pasqua (n\u00e9 en 1965 \u00e0 Grasse) ne conserve que le cr\u00e2ne et les papillons, concentrant ainsi son attention sur l’Homme, plac\u00e9 au centre de sa r\u00e9flexion. 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