{"id":8752,"date":"2013-07-16T19:04:10","date_gmt":"2013-07-16T17:04:10","guid":{"rendered":"https:\/\/frank-lovisolo.fr\/WordPress\/?page_id=8752"},"modified":"2026-02-08T07:51:54","modified_gmt":"2026-02-08T06:51:54","slug":"un-peu-comme-une-sur-estampe","status":"publish","type":"post","link":"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/","title":{"rendered":"Un peu comme une sur estampe"},"content":{"rendered":"<span class=\"span-reading-time rt-reading-time\" style=\"display: block;\"><span class=\"rt-label rt-prefix\">Reading Time: <\/span> <span class=\"rt-time\"> 5<\/span> <span class=\"rt-label rt-postfix\">minutes<\/span><\/span><p><span style=\"color: #ffffff;\">Estampe<\/span><\/p>\n<table style=\"width: 100%;\" cellpadding=\"10\">\n<tbody>\n<tr>\n<td style=\"width: 40%; text-align: right; vertical-align: middle;\" colspan=\"3\">\n<div style=\"text-align: center;\"><strong><span style=\"font-size: 16px;\"><span style=\"font-size: 14px;\">Suggestion d&rsquo;\u00e9coute :<\/span><br \/>\n<a href=\"https:\/\/frank-lovisolo.fr\/WordPress\/zong-bing\/\">Zong Bing<\/a><br \/>\n<\/span><\/strong><\/div>\n<\/td>\n<td style=\"width: 40%; text-align: right; vertical-align: middle;\">\n<div><a href=\"https:\/\/frankcesarlovisolo.bandcamp.com\/track\/zong-bing\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51127\" src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2022\/11\/bandcamp-logotype-color-400-Frank.png\" alt=\"- - -\" width=\"303\" height=\"25\" title=\"-\" srcset=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2022\/11\/bandcamp-logotype-color-400-Frank.png 400w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2022\/11\/bandcamp-logotype-color-400-Frank-250x21.png 250w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2022\/11\/bandcamp-logotype-color-400-Frank-150x12.png 150w\" sizes=\"auto, (max-width: 303px) 100vw, 303px\" \/><\/a><\/div>\n<\/td>\n<td style=\"width: 20%; text-align: left; vertical-align: middle;\"><span style=\"font-size: 20px;\"><a href=\"#com\"><img decoding=\"async\" class=\"wp-image-15068 size-full\" src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2015\/06\/ComBleu.jpg\" alt=\"ComGris\" height=\"15\" title=\"-\"><\/a><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div><\/div>\n<table style=\"width: 100%;\" cellpadding=\"10\">\n<tbody>\n<tr style=\"height: 185px;\">\n<td style=\"height: 185px;\">\n<h5 style=\"text-align: center;\"><span class=\"ez-toc-section\" id=\"%e2%80%a6tout-repose-sur-lintervention-de-limaginaire-dont-laction-est-de-transmuer-le-sentiment-en-reflexion-et-par-dela-en-meditation%e2%80%a6\"><\/span><span style=\"font-size: 20px;\">&#8230;tout repose sur l&rsquo;intervention de l&rsquo;imaginaire dont l&rsquo;action est de transmuer le sentiment en r\u00e9flexion et, par-del\u00e0, en m\u00e9ditation&#8230;<\/span><span class=\"ez-toc-section-end\"><\/span><\/h5>\n<div style=\"text-align: center;\"><span style=\"font-size: 20px;\">(Cela dit, apr\u00e8s tout, faites ce que vous voulez\u2009!)<\/span><\/div>\n<\/td>\n<\/tr>\n<tr style=\"height: 100px;\">\n<td style=\"text-align: center; height: 96px;\"><div class=\"flagallerywraper\" style=\"text-align:center;\"><div class=\"flagallery flaslider_skin\" id=\"FlaGallery_sc1_29\" style=\"width:1024px;margin:0 auto;\"><script type=\"text\/javascript\">(function(){this['FlaGallery_sc1_29']={'settings':{\"sliderHeightRetio\":\"0.8\",\"sliderPreloaderColor\":\"#ffffff\",\"sliderBgColor\":\"rgb(255, 255, 255)\",\"sliderHeaderFooterBgColor\":\"rgb(255, 255, 255)\",\"sliderNavigationColor\":\"rgba(82, 82, 82, 0.81)\",\"sliderNavigationIconColor\":\"rgb(255, 255, 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src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/flagallery\/un-peu-comme-une-estampe\/un-peu-comme-une-sur-estampe-n012.jpg\" alt=\"- - -\" title=\"-\"><img decoding=\"async\" class=\"skip-lazy no-lazyload noLazy\" data-lazy-src=\"\" src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/flagallery\/un-peu-comme-une-estampe\/un-peu-comme-une-sur-estampe-n013.jpg\" alt=\"- - -\" title=\"-\"><img decoding=\"async\" class=\"skip-lazy no-lazyload noLazy\" data-lazy-src=\"\" src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/flagallery\/un-peu-comme-une-estampe\/un-peu-comme-une-sur-estampe-n014.jpg\" alt=\"- - -\" title=\"-\"><\/noscript><\/td>\n<\/tr>\n<tr style=\"height: 790px;\">\n<td style=\"text-align: justify; height: 790px;\">\n<h3 style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13232 size-medium\" title=\"estampe - lovisolo\" src=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave-560x386.jpg\" alt=\"estampe - lovisolo\" width=\"560\" height=\"386\" srcset=\"https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave-560x386.jpg 560w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave-867x597.jpg 867w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave-217x150.jpg 217w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave-150x103.jpg 150w, https:\/\/frank-lovisolo.fr\/WordPress\/wp-content\/uploads\/2013\/07\/The_Great_Wave.jpg 1024w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" \/><\/h3>\n<h5 style=\"text-align: justify;\"><span class=\"ez-toc-section\" id=\"inspiration-estampillee-a-tendance-peu-ou-prou-japonaise%e2%80%a6\"><\/span><span style=\"font-size: 20px;\">Inspiration estampill\u00e9e \u00e0 tendance peu ou prou\u00a0Japonaise&#8230;\u00a0<\/span><span class=\"ez-toc-section-end\"><\/span><\/h5>\n<p><span style=\"color: #ffffff;\">&#8211;<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8211;<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Trente-six_vues_du_mont_Fuji\" target=\"_blank\" rel=\"noopener noreferrer\">Fugaku Sanj\u016brokkei<\/a>\u00a0:\u00a0trente six vues du mont Fuji.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Cent_vues_du_mont_Fuji\" target=\"_blank\" rel=\"noopener noreferrer\">Fugaku Hyakkei<\/a>:\u00a0Cent vues du mont Fuji Cette s\u00e9rie fait suite \u00e0 la c\u00e9l\u00e8bre s\u00e9rie des Trente-six Vues du mont Fuji (Fugaku-sanj\u00fbrokkei), publi\u00e9e entre 1830-31 et 1833.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\">Il serait dommage, qu&rsquo;ici, j&rsquo;omette de rendre hommage \u00e0\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Hokusai\" target=\"_blank\" rel=\"noopener noreferrer\">Katsushika Hokusai<\/a>.<\/span><\/p>\n<p><span style=\"font-size: 20px;\">Si fait&#8230;Un autre article\u00a0\u00e0 son propos:\u00a0<\/span><\/p>\n<p><span style=\"color: #ffffff; font-size: 20px;\">&#8211;<\/span><\/p>\n<h5 class=\"entry-title\" style=\"text-align: justify;\"><span class=\"ez-toc-section\" id=\"le-cauchemar-du-mari-de-lama\"><\/span><span style=\"color: #0000ff; font-size: 20px;\"><a style=\"color: #0000ff;\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/le-cauchemar-du-mari-de-l-ama\/\" target=\"_blank\" rel=\"noopener noreferrer\">Le cauchemar du mari de l\u2019Ama<\/a><\/span><span class=\"ez-toc-section-end\"><\/span><\/h5>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\">L&rsquo;extrapolation filmique d\u2019une\u00a0<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Vanit%C3%A9\" target=\"_blank\" rel=\"noopener\">Vanit\u00e9<\/a> par l\u2019\u00e9vocation, certes impertinente, du mari de l\u2019<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Ama_%28plongeuse%29\" target=\"_blank\" rel=\"noopener noreferrer\">Ama<\/a>. \u00a0Au Japon, les \u00abAma\u00bb sont des<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Ama_%28plongeuse%29\" target=\"_blank\" rel=\"noopener noreferrer\">\u00a0<\/a>plongeuses en apn\u00e9e \u00a0connues en tant que p\u00eacheuses de perles.<\/span><\/p>\n<address>\u00a0<\/address>\n<h4><span class=\"ez-toc-section\" id=\"-lestampe-designe-au-sens-strict-le-resultat-de-limpression-dune-gravure\"><\/span><span style=\"font-size: 20px;\">\u00a0L&rsquo;estampe d\u00e9signe, au sens strict, le r\u00e9sultat de l&rsquo;impression d&rsquo;une <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Gravure\" target=\"_blank\" rel=\"noopener noreferrer\">gravure<\/a>.<\/span><span class=\"ez-toc-section-end\"><\/span><\/h4>\n<address><span style=\"font-size: 20px;\">On distingue habituellement deux grandes familles d&rsquo;estampes : les impressions en taille d&rsquo;\u00e9pargne et les impressions en taille-douce. Les outils et produits employ\u00e9s varient sensiblement d&rsquo;une technique \u00e0 l&rsquo;autre.<\/span><\/address>\n<address><span style=\"font-size: 20px;\">L&rsquo;examen attentif d&rsquo;une estampe permet donc en principe de reconna\u00eetre le proc\u00e9d\u00e9 utilis\u00e9.<\/span><br \/>\n<span style=\"font-size: 20px;\">Aujourd&rsquo;hui, par commodit\u00e9, certaines institutions ou organisations\u00a0appellent aussi estampe, le tirage obtenu par des techniques de reproduction artistique plus r\u00e9centes, comme la <a title=\"Lithographie\" href=\"https:\/\/fr.wikipedia.org\/wiki\/Lithographie\" target=\"_blank\" rel=\"noopener\">lithographie<\/a> ou la <a title=\"S\u00e9rigraphie\" href=\"https:\/\/fr.wikipedia.org\/wiki\/S%C3%A9rigraphie\" target=\"_blank\" rel=\"noopener\">s\u00e9rigraphie<\/a>, qui utilisent des principes diff\u00e9rents.<\/span><\/address>\n<address>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\">Ce\u00a0mot d\u00e9j\u00e0 utilis\u00e9 en ancien fran\u00e7ais sous les formes \u00abestanpe, stampe\u00a0\u00bb\u00a0vient de l&rsquo;italien <i>stampa<\/i> (impression, tirage, presse, estampe) dont l&rsquo;\u00e9tymologie d&rsquo;origine germanique d\u00e9rive de <i>stampjan<\/i> ou de <i>stamp\u00f4n<\/i> (\u00ab\u00a0\u00e9craser, frapper\u00a0\u00bb) qui a donn\u00e9 <i>stampfen<\/i> en allemand (frapper du pied).<\/span><\/p>\n<p><span style=\"font-size: 20px;\">Elle est obtenue par le proc\u00e9d\u00e9 de la gravure sur bois. C&rsquo;est la technique la plus ancienne ; elle \u00e9tait pratiqu\u00e9e d\u00e8s le VII<sup><abbr class=\"abbr\" title=\"7\u1d49 si\u00e8cle\">e<\/abbr><\/sup>\u00a0si\u00e8cle en\u00a0Chine.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Nicolas_Poussin\" target=\"_blank\" rel=\"noopener noreferrer\">Nicolas Poussin<\/a>, en 1647, utilise d\u00e9j\u00e0 le mot au sens actuel d&rsquo;image imprim\u00e9e au moyen d&rsquo;une planche grav\u00e9e.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 20px;\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Estampe\" target=\"_blank\" rel=\"noopener noreferrer\">\u00a0La suite &gt;&gt;&gt;&gt;<\/a><\/span><\/p>\n<\/address>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div style=\"text-align: center;\"><span style=\"color: #ffffff;\">&#8230;<\/span><a id=\"com\"><\/a><\/div>\n<p><!--nextpage--><\/p>\n<table style=\"width: 100%; border-collapse: collapse;\" cellpadding=\"10\">\n<tbody>\n<tr>\n<td style=\"width: 100%;\">\n<h3 data-start=\"211\" data-end=\"277\"><span style=\"font-size: 20px;\"><strong>L\u2019estampe : reproductibilit\u00e9, mat\u00e9rialit\u00e9 et statut de l\u2019\u0153uvre<\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\" data-start=\"279\" data-end=\"894\"><span style=\"font-size: 18px;\">Elle constitue un champ artistique et th\u00e9orique singulier, situ\u00e9 \u00e0 l\u2019intersection de la cr\u00e9ation plastique, de la technique et de la reproductibilit\u00e9. D\u00e9finie comme une image imprim\u00e9e \u00e0 partir d\u2019une matrice, elle se distingue des arts graphiques traditionnels par la m\u00e9diation d\u2019un dispositif technique qui conditionne \u00e0 la fois la forme, la mat\u00e9rialit\u00e9 et le statut ontologique de l\u2019\u0153uvre. Loin de se r\u00e9duire \u00e0 une simple reproduction, l\u2019estampe engage un processus de cr\u00e9ation o\u00f9 la matrice fonctionne comme lieu originaire de l\u2019image, tout en demeurant distincte de ses manifestations mat\u00e9rielles multiples.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"896\" data-end=\"1532\"><span style=\"font-size: 18px;\">Sur le plan th\u00e9orique, cette technique interroge de mani\u00e8re centrale la notion d\u2019originalit\u00e9. Contrairement au paradigme de l\u2019\u0153uvre unique, elle repose sur une logique de multiplicit\u00e9 contr\u00f4l\u00e9e, dans laquelle l\u2019original ne co\u00efncide pas avec un objet singulier mais avec un ensemble de tirages \u00e9quivalents, parfois hi\u00e9rarchis\u00e9s par des \u00e9tats, des \u00e9preuves ou des variations. Cette configuration remet en question les cat\u00e9gories classiques de l\u2019histoire de l\u2019art, notamment celles de l\u2019unicit\u00e9, de l\u2019aura et de l\u2019authenticit\u00e9, telles qu\u2019analys\u00e9es par Walter Benjamin dans son essai sur l\u2019\u0153uvre d\u2019art \u00e0 l\u2019\u00e9poque de sa reproductibilit\u00e9 technique.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"1534\" data-end=\"2075\"><span style=\"font-size: 18px;\">La mat\u00e9rialit\u00e9 de l\u2019oeuvre constitue un autre enjeu th\u00e9orique majeur. Chaque tirage, bien que proc\u00e9dant d\u2019une m\u00eame matrice, pr\u00e9sente des diff\u00e9rences li\u00e9es \u00e0 l\u2019encrage, \u00e0 la pression, au support ou \u00e0 l\u2019intervention manuelle de l\u2019artiste. Ces variations introduisent une tension entre r\u00e9p\u00e9tition et singularit\u00e9, faisant de l\u2019estampe un m\u00e9dium o\u00f9 la trace, l\u2019accident et le geste conservent une importance d\u00e9terminante. Ainsi, la reproductibilit\u00e9 ne supprime pas la dimension sensible de l\u2019\u0153uvre, mais la redistribue au sein d\u2019un champ s\u00e9riel.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"2077\" data-end=\"2599\"><span style=\"font-size: 18px;\">D\u2019un point de vue s\u00e9miologique, l\u2019estampe peut \u00eatre appr\u00e9hend\u00e9e comme un syst\u00e8me de signes m\u00e9diatis\u00e9 par la technique. La matrice agit comme un op\u00e9rateur de transformation, imposant une distance entre le geste initial et l\u2019image imprim\u00e9e. Cette m\u00e9diation engage une r\u00e9flexion sur le rapport entre pr\u00e9sence et absence, entre inscription et empreinte, rejoignant des probl\u00e9matiques d\u00e9velopp\u00e9es par des penseurs tels que Rosalind Krauss ou Georges Didi-Huberman autour de l\u2019indice, de la trace et de la survivance des images.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"2601\" data-end=\"3032\"><span style=\"font-size: 18px;\">Enfin, dans le contexte contemporain, l\u2019estampe se red\u00e9finit \u00e0 l\u2019aune des technologies num\u00e9riques, qui d\u00e9placent les fronti\u00e8res entre original et copie, analogique et num\u00e9rique. Loin d\u2019annoncer la disparition du m\u00e9dium, ces hybridations confirment sa pertinence th\u00e9orique en tant que dispositif critique permettant d\u2019interroger les conditions de production, de diffusion et de r\u00e9ception des images dans les soci\u00e9t\u00e9s contemporaines.<\/span><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 100%;\">\n<h3 data-start=\"108\" data-end=\"192\"><strong><span style=\"font-size: 20px;\">L\u2019estampe japonaise (<em data-start=\"133\" data-end=\"142\">ukiyo-e<\/em>) : entre culture visuelle et modernit\u00e9 artistique<\/span><\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"194\" data-end=\"678\"><span style=\"font-size: 18px;\">La japonaise, commun\u00e9ment d\u00e9sign\u00e9e sous le terme <em data-start=\"250\" data-end=\"259\">ukiyo-e<\/em> (\u00ab images du monde flottant \u00bb), constitue l\u2019une des formes les plus embl\u00e9matiques de la culture visuelle japonaise de l\u2019\u00e9poque d\u2019Edo (XVII\u1d49\u2013XIX\u1d49 si\u00e8cles). Produite selon la technique de la xylogravure polychrome, elle r\u00e9sulte d\u2019un travail collectif associant dessinateur, graveur, imprimeur et \u00e9diteur, ce qui distingue fondamentalement l\u2019estampe japonaise des pratiques occidentales fond\u00e9es sur l\u2019unicit\u00e9 de l\u2019auteur.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"680\" data-end=\"1234\"><span style=\"font-size: 18px;\">Les <em data-start=\"684\" data-end=\"693\">ukiyo-e<\/em> repr\u00e9sentent principalement des sc\u00e8nes de la vie urbaine : acteurs de kabuki, courtisanes, paysages c\u00e9l\u00e8bres, sc\u00e8nes saisonni\u00e8res ou \u00e9pisodes historiques et mythologiques. Ces images, destin\u00e9es \u00e0 un large public, participent \u00e0 la construction d\u2019une culture populaire urbaine et \u00e0 la diffusion de mod\u00e8les esth\u00e9tiques partag\u00e9s. Loin d\u2019\u00eatre de simples objets d\u00e9coratifs, les estampes jouent un r\u00f4le structurant dans l\u2019imaginaire collectif japonais, en fixant des codes visuels fond\u00e9s sur la stylisation, la plan\u00e9it\u00e9 et la primaut\u00e9 de la ligne.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"1236\" data-end=\"1731\"><span style=\"font-size: 18px;\">Sur le plan formel, l\u2019estampe japonaise se caract\u00e9rise par une conception non illusionniste de l\u2019espace, rompant avec la perspective lin\u00e9aire occidentale. L\u2019usage de cadrages asym\u00e9triques, de points de vue obliques et de surfaces color\u00e9es uniformes t\u00e9moigne d\u2019un rapport sp\u00e9cifique \u00e0 l\u2019espace et au temps, souvent associ\u00e9 \u00e0 une esth\u00e9tique de l\u2019instantan\u00e9 et de l\u2019\u00e9ph\u00e9m\u00e8re. Cette logique visuelle rejoint la philosophie du <em data-start=\"1658\" data-end=\"1673\">mono no aware<\/em>, qui valorise la conscience de l\u2019impermanence des choses.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"1733\" data-end=\"2187\"><span style=\"font-size: 18px;\">D\u2019un point de vue th\u00e9orique, l\u2019<em data-start=\"1764\" data-end=\"1773\">ukiyo-e<\/em> interroge les notions d\u2019originalit\u00e9 et de reproductibilit\u00e9. La multiplicit\u00e9 des tirages, assum\u00e9e comme mode de diffusion, ne diminue pas la valeur esth\u00e9tique de l\u2019\u0153uvre mais en constitue au contraire la condition d\u2019existence. La matrice de bois, d\u00e9truite ou alt\u00e9r\u00e9e par l\u2019usage, inscrit l\u2019estampe dans une temporalit\u00e9 de l\u2019usure et de la disparition, conf\u00e9rant \u00e0 chaque tirage une dimension historique sp\u00e9cifique.<\/span><\/p>\n<p style=\"text-align: justify;\" data-start=\"2189\" data-end=\"2714\"><span style=\"font-size: 18px;\">L\u2019influence de l\u2019estampe japonaise sur l\u2019art occidental, particuli\u00e8rement au XIX\u1d49 si\u00e8cle, est consid\u00e9rable. Le <em data-start=\"2300\" data-end=\"2311\">japonisme<\/em> inspire profond\u00e9ment les impressionnistes et postimpressionnistes, tels que Monet, Degas, Van Gogh ou Toulouse-Lautrec, qui reprennent ses cadrages audacieux, sa simplification des formes et son rapport novateur \u00e0 la couleur. Ainsi, l\u2019estampe japonaise appara\u00eet comme un vecteur majeur de la modernit\u00e9 artistique, contribuant \u00e0 red\u00e9finir les fondements m\u00eames de la repr\u00e9sentation picturale en Occident.<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8230;<\/span><a id=\"com\"><\/a><\/div>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-light-blue ez-toc-container-direction\">\n<label for=\"ez-toc-cssicon-toggle-item-69d4e1240d7c8\" class=\"ez-toc-cssicon-toggle-label\"><p class=\"ez-toc-title\" style=\"cursor:inherit\">Table des mati\u00e8res<\/p>\n<span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69d4e1240d7c8\" checked \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/#%e2%80%a6tout-repose-sur-lintervention-de-limaginaire-dont-laction-est-de-transmuer-le-sentiment-en-reflexion-et-par-dela-en-meditation%e2%80%a6\" >&#8230;tout repose sur l&rsquo;intervention de l&rsquo;imaginaire dont l&rsquo;action est de transmuer le sentiment en r\u00e9flexion et, par-del\u00e0, en m\u00e9ditation&#8230;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/#inspiration-estampillee-a-tendance-peu-ou-prou-japonaise%e2%80%a6\" >Inspiration estampill\u00e9e \u00e0 tendance peu ou prou\u00a0Japonaise&#8230;\u00a0<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/#le-cauchemar-du-mari-de-lama\" >Le cauchemar du mari de l\u2019Ama<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/#-lestampe-designe-au-sens-strict-le-resultat-de-limpression-dune-gravure\" >\u00a0L&rsquo;estampe d\u00e9signe, au sens strict, le r\u00e9sultat de l&rsquo;impression d&rsquo;une gravure.<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/2\/#lestampe-reproductibilite-materialite-et-statut-de-loeuvre\" >L\u2019estampe : reproductibilit\u00e9, mat\u00e9rialit\u00e9 et statut de l\u2019\u0153uvre<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/2\/#lestampe-japonaise-ukiyo-e-entre-culture-visuelle-et-modernite-artistique\" >L\u2019estampe japonaise (ukiyo-e) : entre culture visuelle et modernit\u00e9 artistique<\/a><\/li><\/ul><\/nav><\/div>\n","protected":false},"excerpt":{"rendered":"<p><span class=\"span-reading-time rt-reading-time\" style=\"display: block;\"><span class=\"rt-label rt-prefix\">Reading Time: <\/span> <span class=\"rt-time\"> 5<\/span> <span class=\"rt-label rt-postfix\">minutes<\/span><\/span>\u2026 <a class=\"continue-reading-link\" href=\"https:\/\/frank-lovisolo.fr\/WordPress\/un-peu-comme-une-sur-estampe\/\">Suite &#8211; Continue reading<\/a><\/p>\n","protected":false},"author":1,"featured_media":41256,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2538],"tags":[998,1260,479,3573],"class_list":["post-8752","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archives-photos","tag-katsushika-hokusai","tag-le-mourillon","tag-toulon","tag-zong-bing"],"_links":{"self":[{"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/posts\/8752","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/comments?post=8752"}],"version-history":[{"count":2,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/posts\/8752\/revisions"}],"predecessor-version":[{"id":51723,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/posts\/8752\/revisions\/51723"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/media\/41256"}],"wp:attachment":[{"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/media?parent=8752"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/categories?post=8752"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/frank-lovisolo.fr\/WordPress\/wp-json\/wp\/v2\/tags?post=8752"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}