{"id":1163,"date":"2026-08-10T07:59:09","date_gmt":"2026-08-10T07:59:09","guid":{"rendered":"https:\/\/artworkpost.com\/olympia\/"},"modified":"2026-10-12T08:43:12","modified_gmt":"2026-10-12T08:43:12","slug":"olympia","status":"publish","type":"post","link":"https:\/\/artworkpost.com\/fr\/olympia\/","title":{"rendered":"Olympia \u2013 Le tableau qui a fait scandale en 1865, et la femme qu&rsquo;on avait oubli\u00e9e : Laure"},"content":{"rendered":"<p class=\"lead\"><strong>Pendant plus d&rsquo;un si\u00e8cle, on a parl\u00e9 d&rsquo;Olympia comme du nu le plus scandaleux du XIX<sup>e<\/sup> si\u00e8cle, en s&rsquo;int\u00e9ressant \u00e0 la femme allong\u00e9e qui fixe le spectateur. On oubliait l&rsquo;autre femme du tableau : la servante noire qui lui apporte un bouquet. Elle s&rsquo;appelait Laure. En 2019, le mus\u00e9e d&rsquo;Orsay lui a rendu son nom dans une grande exposition consacr\u00e9e au \u00ab mod\u00e8le noir \u00bb. Manet avait peint en 1863 deux Parisiennes bien r\u00e9elles, et le scandale de 1865 n&rsquo;a pas fini de nous apprendre \u00e0 regarder.<\/strong><\/p>\n<h2>En bref<\/h2>\n<ul>\n<li><strong>Artiste :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/artist\/edouard-manet\/\">\u00c9douard Manet (1832-1883)<\/a><\/li>\n<li><strong>Date :<\/strong> 1863 ; expos\u00e9e au Salon de 1865<\/li>\n<li><strong>Mod\u00e8les :<\/strong> Victorine Meurent (Olympia) et Laure (la servante)<\/li>\n<li><strong>Technique :<\/strong> huile sur toile<\/li>\n<li><strong>Dimensions :<\/strong> 130,5 \u00d7 190 cm<\/li>\n<li><strong>Mouvement :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/movement\/realism\/\">R\u00e9alisme<\/a><\/li>\n<li><strong>Lieu de conservation :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/museum\/musee-dorsay-paris\/\">mus\u00e9e d&rsquo;Orsay, Paris<\/a><\/li>\n<\/ul>\n<h2>Une V\u00e9nus d&rsquo;aujourd&rsquo;hui<\/h2>\n<p>Manet s&rsquo;inspire d&rsquo;un mod\u00e8le c\u00e9l\u00e8bre : la <em>V\u00e9nus d&rsquo;Urbin<\/em> de Titien, un nu allong\u00e9 de la Renaissance. Mais il en change tout le sens. Chez Titien, une d\u00e9esse alanguie, un petit chien endormi \u00e0 ses pieds. Chez Manet, une jeune femme de son temps, nue sur un lit, une fleur dans les cheveux, un ruban noir au cou, une mule au pied, qui regarde le spectateur sans pudeur ni coquetterie. \u00c0 ses pieds, le chien est devenu un chat noir, le dos rond.<\/p>\n<p>Le XIX<sup>e<\/sup> si\u00e8cle acceptait les nus \u00e0 condition qu&rsquo;ils soient des d\u00e9esses ou des nymphes, comme les V\u00e9nus que les Salons accumulaient \u2013 h\u00e9riti\u00e8res de <a href=\"https:\/\/artworkpost.com\/fr\/la-naissance-de-venus\/\">La Naissance de V\u00e9nus<\/a> de Botticelli. Olympia n&rsquo;est pas une d\u00e9esse. C&rsquo;est une femme moderne, que le public reconna\u00eet comme une courtisane parisienne. Un demi-si\u00e8cle plus t\u00f4t, en Espagne, Goya avait d\u00e9j\u00e0 os\u00e9 un nu sans pr\u00e9texte mythologique avec <a href=\"https:\/\/artworkpost.com\/fr\/la-maja-nue\/\">La Maja nue<\/a> \u2013 mais il \u00e9tait rest\u00e9 cach\u00e9.<\/p>\n<h2>Le scandale du Salon de 1865<\/h2>\n<p>Manet peint <em>Olympia<\/em> en 1863, l&rsquo;ann\u00e9e o\u00f9 son <a href=\"https:\/\/artworkpost.com\/fr\/le-dejeuner-sur-lherbe\/\">D\u00e9jeuner sur l&rsquo;herbe<\/a> fait d\u00e9j\u00e0 scandale au Salon des refus\u00e9s. Il attend deux ans pour pr\u00e9senter <em>Olympia<\/em> au Salon officiel de 1865. Dans le catalogue, le tableau est accompagn\u00e9 de vers de son ami le critique et po\u00e8te Zacharie Astruc.<\/p>\n<p>Le scandale est plus violent encore qu&rsquo;en 1863. Le public se moque, les critiques se d\u00e9cha\u00eenent. On reproche au tableau son sujet, mais aussi sa mani\u00e8re : une peinture plate, un \u00e9clairage cru, presque sans ombres, un corps qui n&rsquo;a rien d&rsquo;id\u00e9al. Seuls quelques \u00e9crivains d\u00e9fendent Manet, dont \u00c9mile Zola, qui y voit la v\u00e9rit\u00e9 de la peinture moderne. Il \u00e9crit, en s&rsquo;adressant au peintre : \u00ab Vous vouliez un nu, et vous avez choisi Olympia, la premi\u00e8re venue. \u00bb<\/p>\n<h2>Victorine et Laure<\/h2>\n<p>La femme allong\u00e9e a pour mod\u00e8le Victorine Meurent, une jeune femme de dix-neuf ans au moment o\u00f9 elle pose, qui fut l&rsquo;un des mod\u00e8les pr\u00e9f\u00e9r\u00e9s de Manet. On la retrouve dans plusieurs de ses grands tableaux, dont le <em>D\u00e9jeuner sur l&rsquo;herbe<\/em>.<\/p>\n<p>La servante a pour mod\u00e8le une femme noire dont on ne conna\u00eet que le pr\u00e9nom : Laure. Pendant longtemps, elle n&rsquo;a \u00e9t\u00e9 vue que comme un \u00ab accessoire \u00bb du tableau. Les historiens d&rsquo;art s&rsquo;int\u00e9ressent aujourd&rsquo;hui de plus en plus \u00e0 elle, \u00e0 sa pr\u00e9sence, \u00e0 son regard, \u00e0 la place des personnes noires dans le Paris du XIX<sup>e<\/sup> si\u00e8cle, quelques ann\u00e9es seulement apr\u00e8s l&rsquo;abolition de l&rsquo;esclavage dans les colonies fran\u00e7aises, en 1848.<\/p>\n<h2>Symbolisme et d\u00e9tails \u00e0 observer<\/h2>\n<p><strong>Le regard.<\/strong> Olympia regarde droit vers nous. Elle n&rsquo;est ni r\u00eaveuse ni offerte : elle est consciente d&rsquo;\u00eatre regard\u00e9e, et c&rsquo;est ce qui d\u00e9range.<\/p>\n<p><strong>La main.<\/strong> Sa main gauche, pos\u00e9e fermement sur sa cuisse, cache autant qu&rsquo;elle affirme.<\/p>\n<p><strong>Le bouquet.<\/strong> Envelopp\u00e9 de papier, il est sans doute le cadeau d&rsquo;un client. Olympia ne lui accorde pas un regard.<\/p>\n<p><strong>Le chat noir.<\/strong> \u00c0 la place du chien fid\u00e8le de Titien, un chat noir, le dos arqu\u00e9, associ\u00e9 dans l&rsquo;imaginaire du temps \u00e0 la nuit et \u00e0 la sensualit\u00e9.<\/p>\n<p><strong>Les accessoires.<\/strong> Le ruban noir au cou, le bracelet, la fleur dans les cheveux, la mule : ils soulignent la nudit\u00e9 au lieu de la voiler.<\/p>\n<p><strong>La peinture.<\/strong> Le corps clair se d\u00e9tache sur le drap blanc et le fond sombre, presque sans transitions. Cette peinture en aplats, jug\u00e9e grossi\u00e8re en 1865, annonce la modernit\u00e9.<\/p>\n<h2>\u00c0 propos d&rsquo;\u00c9douard Manet<\/h2>\n<p>N\u00e9 \u00e0 Paris en 1832 dans une famille de la grande bourgeoisie, Manet se forme dans l&rsquo;atelier de Thomas Couture et \u00e9tudie au Louvre les ma\u00eetres anciens, notamment espagnols et v\u00e9nitiens. Ami de Monet, de Degas et des impressionnistes, il refuse pourtant d&rsquo;exposer avec eux et continue de pr\u00e9senter ses tableaux au Salon officiel, au prix de nombreux refus. Il meurt \u00e0 Paris en 1883, \u00e0 cinquante et un ans.<\/p>\n<p>Ses tableaux ont longtemps pein\u00e9 \u00e0 trouver acheteur. Le baryton Jean-Baptiste Faure, qui avait command\u00e9 \u00e0 Degas <a href=\"https:\/\/artworkpost.com\/fr\/la-classe-de-danse\/\">La Classe de danse<\/a>, ach\u00e8te en 1878 le <em>D\u00e9jeuner sur l&rsquo;herbe<\/em>. \u00c0 la vente qui suit la mort de Manet, en 1884, Gustave Caillebotte \u2013 le premier propri\u00e9taire du <a href=\"https:\/\/artworkpost.com\/fr\/bal-du-moulin-de-la-galette\/\">Bal du moulin de la Galette<\/a> \u2013 acquiert son <em>Balcon<\/em>.<\/p>\n<h2>H\u00e9ritage et influence<\/h2>\n<p><em>Olympia<\/em> est devenue l&rsquo;un des tableaux fondateurs de la peinture moderne. En montrant une femme r\u00e9elle, dans une peinture qui ne cherche pas \u00e0 imiter le relief, Manet a ouvert la voie \u00e0 toute la peinture qui a suivi. Le tableau est aussi devenu un objet d&rsquo;\u00e9tude essentiel pour les historiens qui s&rsquo;int\u00e9ressent au regard, au genre, au corps et \u00e0 la race dans l&rsquo;art.<\/p>\n<h2>Et en France ?<\/h2>\n<p><strong>Une souscription de Monet.<\/strong> Apr\u00e8s la mort de Manet, le tableau reste dans la famille. En 1890, Claude Monet, l&rsquo;auteur d&rsquo;<a href=\"https:\/\/artworkpost.com\/fr\/impression-soleil-levant\/\">Impression, soleil levant<\/a>, organise une souscription publique aupr\u00e8s des amis et admirateurs de Manet pour l&rsquo;acheter et l&rsquo;offrir \u00e0 l&rsquo;\u00c9tat. C&rsquo;est gr\u00e2ce \u00e0 cette initiative qu&rsquo;<em>Olympia<\/em> est entr\u00e9e dans les collections nationales fran\u00e7aises, avant de rejoindre le mus\u00e9e d&rsquo;Orsay lors de son ouverture, en 1986.<\/p>\n<p><strong>Le \u00ab mod\u00e8le noir \u00bb \u00e0 Orsay.<\/strong> En 2019, le mus\u00e9e d&rsquo;Orsay a pr\u00e9sent\u00e9 l&rsquo;exposition \u00ab Le Mod\u00e8le noir, de G\u00e9ricault \u00e0 Matisse \u00bb, con\u00e7ue par les commissaires C\u00e9cile Debray et Isolde Pludermacher et inspir\u00e9e des recherches de l&rsquo;historienne de l&rsquo;art am\u00e9ricaine Denise Murrell. Elle a redonn\u00e9 un nom et une dignit\u00e9 aux mod\u00e8les noirs repr\u00e9sent\u00e9s dans la peinture de cette \u00e9poque \u2013 \u00e0 commencer par Laure, la servante d&rsquo;<em>Olympia<\/em>. L&rsquo;audioguide donnait la parole \u00e0 l&rsquo;ancien footballeur Lilian Thuram, engag\u00e9 contre le racisme, et au rappeur et po\u00e8te Abd Al Malik.<\/p>\n<h2>O\u00f9 voir l&rsquo;\u0153uvre aujourd&rsquo;hui<\/h2>\n<p><em>Olympia<\/em> est expos\u00e9e au <strong>mus\u00e9e d&rsquo;Orsay<\/strong>, \u00e0 Paris, dans les salles consacr\u00e9es \u00e0 Manet.<\/p>\n<ul>\n<li><strong>R\u00e9servez en ligne<\/strong> et v\u00e9rifiez les horaires sur le site du mus\u00e9e.<\/li>\n<li><strong>Dans le m\u00eame mus\u00e9e :<\/strong> le <a href=\"https:\/\/artworkpost.com\/fr\/le-dejeuner-sur-lherbe\/\">D\u00e9jeuner sur l&rsquo;herbe<\/a> et d&rsquo;autres tableaux de Manet, le <a href=\"https:\/\/artworkpost.com\/fr\/bal-du-moulin-de-la-galette\/\">Bal du moulin de la Galette<\/a> de Renoir et <a href=\"https:\/\/artworkpost.com\/fr\/arrangement-en-gris-et-noir-n-1-la-mere-de-whistler\/\">La M\u00e8re de Whistler<\/a>, dont l&rsquo;auteur exposa lui aussi au Salon des refus\u00e9s de 1863.<\/li>\n<li><strong>Au Louvre :<\/strong> les grands nus de la tradition, pour comprendre ce que Manet a voulu bousculer.<\/li>\n<\/ul>\n<h2>Questions fr\u00e9quentes<\/h2>\n<h3>Pourquoi Olympia a-t-elle fait scandale ?<\/h3>\n<p>Parce qu&rsquo;elle montrait une femme moderne, une courtisane parisienne, et non une d\u00e9esse, qui regarde le spectateur sans pudeur. Sa peinture en aplats, presque sans ombres, choquait aussi.<\/p>\n<h3>Qui sont les mod\u00e8les ?<\/h3>\n<p>Victorine Meurent pour Olympia, et Laure, une femme noire dont on ne conna\u00eet que le pr\u00e9nom, pour la servante.<\/p>\n<h3>Quel tableau a inspir\u00e9 Manet ?<\/h3>\n<p>La <em>V\u00e9nus d&rsquo;Urbin<\/em> de Titien. Manet en reprend la composition, mais remplace la d\u00e9esse par une femme de son temps et le chien endormi par un chat noir.<\/p>\n<h3>Comment le tableau est-il entr\u00e9 dans les collections fran\u00e7aises ?<\/h3>\n<p>Gr\u00e2ce \u00e0 une souscription publique organis\u00e9e par Claude Monet en 1890 pour l&rsquo;acheter et l&rsquo;offrir \u00e0 l&rsquo;\u00c9tat.<\/p>\n<h3>Qu&rsquo;est-ce que l&rsquo;exposition \u00ab Le Mod\u00e8le noir \u00bb ?<\/h3>\n<p>Une exposition pr\u00e9sent\u00e9e en 2019 au mus\u00e9e d&rsquo;Orsay, qui a redonn\u00e9 leur nom aux mod\u00e8les noirs de la peinture du XIX<sup>e<\/sup> si\u00e8cle, dont Laure, la servante d&rsquo;<em>Olympia<\/em>.<\/p>\n<p>Manet a peint deux femmes r\u00e9elles dans une chambre parisienne. Le public de 1865 n&rsquo;a vu qu&rsquo;un scandale ; les si\u00e8cles suivants y ont vu la naissance de la peinture moderne. Il a fallu attendre notre \u00e9poque pour regarder enfin la seconde femme du tableau, et l&rsquo;appeler par son nom.<\/p>\n<p class=\"image-attribution\" style=\"font-size:0.85em;color:#666;\"><em>Image : Olympia \u2013 \u00c9douard Manet, 1863, mus\u00e9e d&rsquo;Orsay, Paris. Licence : domaine public. Source : <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Edouard_Manet_-_Olympia_-_Google_Art_ProjectFXD.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pendant plus d&rsquo;un si\u00e8cle, on a parl\u00e9 d&rsquo;Olympia comme du nu le plus scandaleux du XIXe si\u00e8cle, en s&rsquo;int\u00e9ressant \u00e0 la femme allong\u00e9e qui fixe le spectateur. On oubliait l&rsquo;autre femme du tableau : la servante noire qui lui apporte un bouquet. Elle s&rsquo;appelait Laure. En 2019, le mus\u00e9e d&rsquo;Orsay lui a rendu son nom&#8230;<\/p>\n","protected":false},"author":1,"featured_media":1158,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[472],"tags":[5357,1284,1108,2366,4518,5358,1109,3952,5379,477],"artist":[5376],"movement":[3949],"museum":[2389],"class_list":["post-1163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-peinture","tag-edouard-manet","tag-histoire-de-lart","tag-impressionnisme","tag-musee-dorsay","tag-nu-feminin","tag-olympia","tag-peinture-francaise","tag-realisme","tag-salon-de-paris","tag-xixe-siecle","artist-edouard-manet","movement-realism","museum-musee-dorsay-paris"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Olympia de Manet : le scandale de 1865 et le nom de Laure<\/title>\n<meta name=\"description\" content=\"Olympia de Manet a fait scandale au Salon de 1865. 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