{"id":1223,"date":"2026-08-15T05:18:41","date_gmt":"2026-08-15T05:18:41","guid":{"rendered":"https:\/\/artworkpost.com\/autoportrait\/"},"modified":"2026-10-12T11:24:18","modified_gmt":"2026-10-12T11:24:18","slug":"autoportrait","status":"publish","type":"post","link":"https:\/\/artworkpost.com\/fr\/autoportrait\/","title":{"rendered":"Autoportrait de D\u00fcrer (1500) \u2013 Le peintre qui s&rsquo;est repr\u00e9sent\u00e9 comme le Christ"},"content":{"rendered":"<p class=\"lead\"><strong>En 1500, Albrecht D\u00fcrer se peint de face, parfaitement sym\u00e9trique, la chevelure tombant sur les \u00e9paules, la main lev\u00e9e sur sa poitrine \u2013 exactement comme on repr\u00e9sentait alors le Christ Sauveur sur les ic\u00f4nes. Personne, avant lui, n&rsquo;avait os\u00e9 se peindre ainsi. Sept ans plus t\u00f4t, il s&rsquo;\u00e9tait repr\u00e9sent\u00e9 tout autrement : jeune homme \u00e9l\u00e9gant, un chardon \u00e0 la main, dans un petit tableau peint sans doute \u00e0 Strasbourg. Ce premier autoportrait se trouve aujourd&rsquo;hui au Louvre. Entre les deux, D\u00fcrer a invent\u00e9 l&rsquo;image de l&rsquo;artiste moderne.<\/strong><\/p>\n<h2>En bref<\/h2>\n<ul>\n<li><strong>Artiste :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/artist\/albrecht-durer\/\">Albrecht D\u00fcrer (1471-1528)<\/a><\/li>\n<li><strong>Date :<\/strong> 1500<\/li>\n<li><strong>Titre allemand :<\/strong> <em>Selbstbildnis im Pelzrock<\/em>, \u00ab Autoportrait au manteau de fourrure \u00bb<\/li>\n<li><strong>Technique :<\/strong> huile sur panneau de tilleul<\/li>\n<li><strong>Dimensions :<\/strong> 67,1 \u00d7 48,9 cm<\/li>\n<li><strong>Mouvement :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/movement\/northern-renaissance\/\">Renaissance du Nord<\/a><\/li>\n<li><strong>Lieu de conservation :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/museum\/alte-pinakothek-munich\/\">Alte Pinakothek, Munich<\/a>, acquis de Nuremberg en 1805<\/li>\n<\/ul>\n<h2>Un visage comme une ic\u00f4ne<\/h2>\n<p>Le tableau est d&rsquo;une rigueur saisissante. D\u00fcrer se repr\u00e9sente strictement de face, le visage au centre exact de la composition, les cheveux longs et boucl\u00e9s tombant de part et d&rsquo;autre. Il porte un manteau sombre bord\u00e9 de fourrure. Le fond est noir. Rien ne distrait le regard.<\/p>\n<p>Cette frontalit\u00e9 absolue n&rsquo;existait pas dans les portraits de l&rsquo;\u00e9poque, qui montraient presque toujours le mod\u00e8le de trois quarts. Elle \u00e9tait r\u00e9serv\u00e9e aux images sacr\u00e9es, et notamment aux ic\u00f4nes du Christ Sauveur, la main lev\u00e9e en signe de b\u00e9n\u00e9diction. D\u00fcrer reprend ce mod\u00e8le, mais les d\u00e9tails \u2013 les m\u00e8ches de cheveux, les poils de la fourrure, les plis de la peau \u2013 sont d&rsquo;une pr\u00e9cision tr\u00e8s personnelle.<\/p>\n<p>Ce n&rsquo;est pas un blasph\u00e8me, mais une affirmation : l&rsquo;artiste, capable de cr\u00e9er, porte en lui un reflet du Cr\u00e9ateur. Pour le mus\u00e9e de Munich, le regard direct et la main dans le tableau parlent de l&rsquo;acte m\u00eame de voir et de cr\u00e9er.<\/p>\n<h2>Une inscription choisie mot \u00e0 mot<\/h2>\n<p>\u00c0 droite du visage, une inscription en latin, en lettres d&rsquo;or : \u00ab Moi, Albrecht D\u00fcrer de Nuremberg, je me suis peint ainsi avec des couleurs appropri\u00e9es, \u00e0 l&rsquo;\u00e2ge de vingt-huit ans. \u00bb \u00c0 gauche, la date 1500 et le c\u00e9l\u00e8bre monogramme de l&rsquo;artiste, un grand A contenant un D.<\/p>\n<p>Chaque mot compte. D\u00fcrer se nomme, nomme sa ville, son \u00e2ge, et souligne la qualit\u00e9 de son art. Il ne se pr\u00e9sente plus comme un artisan, mais comme un auteur. L&rsquo;ann\u00e9e 1500, \u00e0 la charni\u00e8re de deux si\u00e8cles, renforce le caract\u00e8re solennel de cette d\u00e9claration.<\/p>\n<h2>Symbolisme et d\u00e9tails \u00e0 observer<\/h2>\n<p><strong>La main.<\/strong> La main droite, aux doigts longs et fins, est pos\u00e9e sur la fourrure, pr\u00e8s du c\u0153ur. Elle \u00e9voque le geste de b\u00e9n\u00e9diction du Christ, mais c&rsquo;est aussi la main du peintre, l&rsquo;outil de sa cr\u00e9ation.<\/p>\n<p><strong>Les cheveux.<\/strong> Chaque boucle est peinte avec une minutie extr\u00eame, presque m\u00e8che par m\u00e8che. C&rsquo;est l&rsquo;h\u00e9ritage de la formation de D\u00fcrer, fils d&rsquo;orf\u00e8vre, habitu\u00e9 au travail du m\u00e9tal et de la gravure.<\/p>\n<p><strong>Le regard.<\/strong> Les yeux fixent le spectateur. O\u00f9 qu&rsquo;on se place, ils semblent nous suivre, comme ceux des ic\u00f4nes.<\/p>\n<p><strong>La fourrure.<\/strong> Le manteau bord\u00e9 de fourrure est celui d&rsquo;un bourgeois ais\u00e9, d&rsquo;un homme respect\u00e9 de sa ville.<\/p>\n<p><strong>Le fond noir.<\/strong> Il isole le visage et lui donne l&rsquo;apparence d&rsquo;une apparition.<\/p>\n<h2>Trois autoportraits, trois D\u00fcrer<\/h2>\n<p>D\u00fcrer a peint trois autoportraits. Le premier, en 1493, le montre \u00e0 vingt-deux ans, \u00e9l\u00e9gant, un chardon \u00e0 la main : il est aujourd&rsquo;hui au Louvre. Le deuxi\u00e8me, en 1498, peint apr\u00e8s son premier voyage en Italie, le montre en jeune homme richement v\u00eatu \u00e0 la mode italienne, devant une fen\u00eatre ouverte sur un paysage de montagnes : il est au mus\u00e9e du Prado, \u00e0 Madrid. Le troisi\u00e8me, celui de 1500, abandonne l&rsquo;\u00e9l\u00e9gance mondaine pour la gravit\u00e9 d&rsquo;une ic\u00f4ne.<\/p>\n<p>Entre le premier et le dernier, on voit D\u00fcrer passer de l&rsquo;image d&rsquo;un jeune homme qui se cherche \u00e0 celle d&rsquo;un artiste qui se proclame l&rsquo;\u00e9gal des plus grands.<\/p>\n<h2>\u00c0 propos d&rsquo;Albrecht D\u00fcrer<\/h2>\n<p>Albrecht D\u00fcrer na\u00eet \u00e0 Nuremberg en 1471, fils d&rsquo;un orf\u00e8vre. Il se forme aupr\u00e8s de son p\u00e8re, puis chez le peintre Michael Wolgemut, avant de parcourir les villes du Rhin. En 1494-1495, il d\u00e9couvre l&rsquo;Italie ; il y retournera en 1505-1507. Peintre, graveur, dessinateur, th\u00e9oricien des proportions et de la perspective, il est le plus grand artiste de la Renaissance allemande. Ses gravures circulent dans toute l&rsquo;Europe. Il meurt \u00e0 Nuremberg en 1528.<\/p>\n<p>Il est l&rsquo;h\u00e9ritier des grands ma\u00eetres du Nord, comme Jan van Eyck, qui s&rsquo;\u00e9tait d\u00e9j\u00e0 inscrit dans son tableau en \u00e9crivant \u00ab Jan van Eyck \u00e9tait ici \u00bb au-dessus du miroir du <a href=\"https:\/\/artworkpost.com\/fr\/portrait-des-arnolfini\/\">Portrait des Arnolfini<\/a>.<\/p>\n<h2>H\u00e9ritage et influence<\/h2>\n<p>Le tableau a probablement \u00e9t\u00e9 donn\u00e9 ou vendu par D\u00fcrer au conseil de la ville de Nuremberg. Il y est rest\u00e9 expos\u00e9 presque sans interruption jusqu&rsquo;en 1805, date \u00e0 laquelle il est achet\u00e9 pour la collection de l&rsquo;\u00e9lecteur de Bavi\u00e8re, \u00e0 Munich.<\/p>\n<p>L&rsquo;<em>Autoportrait<\/em> de 1500 a impos\u00e9 une id\u00e9e nouvelle : l&rsquo;artiste est un sujet digne d&rsquo;\u00eatre repr\u00e9sent\u00e9, et sa cr\u00e9ation a quelque chose de divin. Cette conception de l&rsquo;artiste a travers\u00e9 les si\u00e8cles. On en retrouve l&rsquo;\u00e9cho dans les tableaux o\u00f9 les peintres se mettent en sc\u00e8ne, comme Vel\u00e1zquez dans <a href=\"https:\/\/artworkpost.com\/fr\/las-meninas\/\">Las Meninas<\/a>.<\/p>\n<h2>Et en France ?<\/h2>\n<p><strong>Le premier autoportrait au Louvre.<\/strong> Le mus\u00e9e du Louvre conserve le tout premier autoportrait peint de D\u00fcrer, le <em>Portrait de l&rsquo;artiste tenant un chardon<\/em>, dat\u00e9 de 1493. D\u00fcrer a alors vingt-deux ans et se trouve vraisemblablement \u00e0 Strasbourg, au cours de son voyage de compagnon. C&rsquo;est l&rsquo;un des premiers autoportraits autonomes de la peinture occidentale. Peint \u00e0 l&rsquo;huile sur parchemin, il a \u00e9t\u00e9 transpos\u00e9 sur toile au XIX<sup>e<\/sup> si\u00e8cle.<\/p>\n<p><strong>Un chardon pour une fianc\u00e9e ?<\/strong> D\u00fcrer y tient une branche de panicaut, une plante \u00e9pineuse que l&rsquo;on appelle en allemand <em>Mannstreu<\/em>, \u00ab fid\u00e9lit\u00e9 de l&rsquo;homme \u00bb. Le tableau pourrait \u00eatre un portrait de fian\u00e7ailles, \u00e0 l&rsquo;\u00e9poque o\u00f9 sa famille organisait son mariage avec Agnes Frey. La plante peut aussi \u00e9voquer les \u00e9pines de la Passion du Christ. En haut, une inscription en allemand ancien dit \u00e0 peu pr\u00e8s : \u00ab Mes affaires vont comme il est d\u00e9cid\u00e9 l\u00e0-haut. \u00bb<\/p>\n<p><strong>Un achat de 1922.<\/strong> Le tableau a \u00e9t\u00e9 rep\u00e9r\u00e9 en 1920 par le conservateur Jean Guiffrey dans une collection priv\u00e9e. Plac\u00e9 sous s\u00e9questre apr\u00e8s la Premi\u00e8re Guerre mondiale, il mena\u00e7ait d&rsquo;\u00eatre vendu aux ench\u00e8res. En mars 1922, le Louvre l&rsquo;a achet\u00e9 au prix fix\u00e9 par la commission des s\u00e9questres. Il permet aujourd&rsquo;hui de voir, \u00e0 Paris, le jeune D\u00fcrer avant qu&rsquo;il ne se peigne en Christ.<\/p>\n<h2>O\u00f9 voir l&rsquo;\u0153uvre aujourd&rsquo;hui<\/h2>\n<p>L&rsquo;<em>Autoportrait<\/em> de 1500 est expos\u00e9 \u00e0 l&rsquo;<strong>Alte Pinakothek<\/strong>, \u00e0 Munich, dans les salles consacr\u00e9es \u00e0 la peinture allemande ancienne, au premier \u00e9tage.<\/p>\n<ul>\n<li><strong>V\u00e9rifiez les horaires et les tarifs<\/strong> sur le site des Pinakotheken avant votre visite.<\/li>\n<li><strong>Approchez-vous<\/strong> pour voir la finesse des cheveux et de la fourrure, puis reculez pour sentir la pr\u00e9sence du regard.<\/li>\n<li><strong>Dans le m\u00eame mus\u00e9e :<\/strong> d&rsquo;autres chefs-d&rsquo;\u0153uvre de D\u00fcrer, ainsi que des peintures flamandes, italiennes et de Rubens.<\/li>\n<li><strong>\u00c0 Paris :<\/strong> le premier autoportrait de D\u00fcrer, au Louvre. <strong>\u00c0 Madrid :<\/strong> celui de 1498, au Prado, non loin du <a href=\"https:\/\/artworkpost.com\/fr\/le-jardin-des-delices-terrestres\/\">Jardin des d\u00e9lices<\/a> de Bosch.<\/li>\n<\/ul>\n<h2>Questions fr\u00e9quentes<\/h2>\n<h3>Pourquoi D\u00fcrer s&rsquo;est-il repr\u00e9sent\u00e9 comme le Christ ?<\/h3>\n<p>Il a repris la pose frontale des ic\u00f4nes du Christ Sauveur pour affirmer la dignit\u00e9 de l&rsquo;artiste et sa capacit\u00e9 de cr\u00e9ation, \u00e0 l&rsquo;image du Cr\u00e9ateur.<\/p>\n<h3>Que dit l&rsquo;inscription ?<\/h3>\n<p>\u00ab Moi, Albrecht D\u00fcrer de Nuremberg, je me suis peint ainsi avec des couleurs appropri\u00e9es, \u00e0 l&rsquo;\u00e2ge de vingt-huit ans. \u00bb<\/p>\n<h3>Combien d&rsquo;autoportraits peints D\u00fcrer a-t-il r\u00e9alis\u00e9s ?<\/h3>\n<p>Trois : en 1493 (Louvre), en 1498 (Prado) et en 1500 (Alte Pinakothek de Munich).<\/p>\n<h3>Comment le tableau est-il arriv\u00e9 \u00e0 Munich ?<\/h3>\n<p>Conserv\u00e9 pendant pr\u00e8s de trois si\u00e8cles \u00e0 Nuremberg, il a \u00e9t\u00e9 achet\u00e9 en 1805 pour la collection de Bavi\u00e8re.<\/p>\n<h3>Peut-on voir un autoportrait de D\u00fcrer en France ?<\/h3>\n<p>Oui : le <em>Portrait de l&rsquo;artiste tenant un chardon<\/em> (1493), son premier autoportrait peint, acquis par le Louvre en 1922.<\/p>\n<p>\u00c0 vingt-deux ans, \u00e0 Strasbourg, D\u00fcrer s&rsquo;est peint un chardon \u00e0 la main, incertain de son avenir. \u00c0 vingt-huit ans, \u00e0 Nuremberg, il s&rsquo;est peint comme une ic\u00f4ne, s\u00fbr de son g\u00e9nie. Entre Paris et Munich, ces deux tableaux racontent la naissance d&rsquo;une id\u00e9e qui nous para\u00eet aujourd&rsquo;hui \u00e9vidente : un artiste peut se regarder en face, et nous regarder.<\/p>\n<p class=\"image-attribution\" style=\"font-size:0.85em;color:#666;\"><em>Image : Autoportrait au manteau de fourrure \u2013 Albrecht D\u00fcrer, 1500, Alte Pinakothek, Munich. Licence : domaine public. Source : <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:D%C3%BCrer_Alte_Pinakothek.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>En 1500, Albrecht D\u00fcrer se peint de face, parfaitement sym\u00e9trique, la chevelure tombant sur les \u00e9paules, la main lev\u00e9e sur sa poitrine \u2013 exactement comme on repr\u00e9sentait alors le Christ Sauveur sur les ic\u00f4nes. Personne, avant lui, n&rsquo;avait os\u00e9 se peindre ainsi. Sept ans plus t\u00f4t, il s&rsquo;\u00e9tait repr\u00e9sent\u00e9 tout autrement : jeune homme \u00e9l\u00e9gant,&#8230;<\/p>\n","protected":false},"author":1,"featured_media":1218,"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":[5657,5660,5697,5693,1284,5661,5695,5696,2844,2842],"artist":[5690],"movement":[3771],"museum":[5691],"class_list":["post-1223","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-peinture","tag-albrecht-durer","tag-alte-pinakothek","tag-art-flamand-et-germanique","tag-autoportrait","tag-histoire-de-lart","tag-munich","tag-peinture-allemande","tag-portrait-renaissance","tag-renaissance-du-nord","tag-symbolisme-en-peinture","artist-albrecht-durer","movement-northern-renaissance","museum-alte-pinakothek-munich"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Autoportrait de D\u00fcrer (1500) : le peintre en Christ<\/title>\n<meta name=\"description\" content=\"L&#039;Autoportrait de D\u00fcrer de 1500 imite les ic\u00f4nes du Christ. 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