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Trois peintres d'ex-voto provençaux

Bernard Cousin
Ethnologie française
nouvelle serie, T. 24, No. 2, Usages de l'image (Avril-Juin 1994), pp. 282-287
Stable URL: http://www.jstor.org/stable/40989547
Page Count: 6
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Trois peintres d'ex-voto provençaux
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Abstract

Voici trois cas de peintres d'ex-voto provençaux au XIXe siècle. Jules Roméo, peintre marseillais, dont les ex-voto se retrouvent dans divers sanctuaires de Basse-Provence occidentale représente l'archétype du peintre d'ex-voto, sans génie mais consciencieux et appliqué, cherchant à satisfaire au mieux la demande de ses clients. Eusèbe Nicolas, du village du Beauset, dans le Var, présente un exemple plus original d'expression artistique populaire, qui ne s'exprime que sur les murs du sanctuaire de son village natal, conjuguant respect des codes iconiques traditionnels et expression personnelle. C'est cette dernière qui prend le dessus dans l'unique ex-voto que Jean-Joseph Aubergy, de Martigues, réalise en remerciement d'une protection accordée en plusieurs moments difficiles de sa vie. The cases of three nineteenth-century painters of ex-votos are examined in this article. Jules Roméo, a painter from Marseilles, whoses ex-votos are to be seen in various sanctuaries of lower Provence, may be taken as the archetypal ex-voto painter, conscientious and applied, but without real genius, seeking to satisfy as best he can the demands of his clients. Eusèbe Nicolas, from the village of Beauset in the Var department, presents a more original case of popular artistic expression. His works are only to te found on the walls of the sanctuary of the village he was born in. They combine a respect for traditional iconic codes with a personal expression. Personal expression takes first place, however, in the last case, that of the unique ex-voto painted by Jean-Joseph Aubergy, from Martigues, realised in gratitude for protection granted at several difficult moments during his life.

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