{"id":833,"date":"2026-07-14T05:18:40","date_gmt":"2026-07-14T05:18:40","guid":{"rendered":"https:\/\/artworkpost.com\/lecole-dathenes\/"},"modified":"2026-10-10T08:32:10","modified_gmt":"2026-10-10T08:32:10","slug":"lecole-dathenes","status":"publish","type":"post","link":"https:\/\/artworkpost.com\/fr\/lecole-dathenes\/","title":{"rendered":"L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes \u2013 Le chef-d&rsquo;\u0153uvre o\u00f9 Rapha\u00ebl a ajout\u00e9 Michel-Ange apr\u00e8s coup"},"content":{"rendered":"<p class=\"lead\"><strong>Au premier plan de L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes, un homme massif, en bottes, est accoud\u00e9 \u00e0 un bloc de marbre, la t\u00eate dans la main : c&rsquo;est H\u00e9raclite, avec les traits de Michel-Ange. Pourtant, il ne figure pas sur le grand dessin pr\u00e9paratoire de la fresque, conserv\u00e9 \u00e0 Milan. Rapha\u00ebl l&rsquo;a ajout\u00e9 apr\u00e8s coup, sans doute apr\u00e8s avoir d\u00e9couvert, en 1511, la premi\u00e8re moiti\u00e9 de la vo\u00fbte de la chapelle Sixtine. Il a fait retirer une partie de l&rsquo;enduit d\u00e9j\u00e0 peint pour l&rsquo;y glisser. Le plus c\u00e9l\u00e8bre hommage \u00e0 la pens\u00e9e antique cache ainsi un hommage \u2013 peut-\u00eatre un peu ironique \u2013 \u00e0 un rival bien vivant.<\/strong><\/p>\n<h2>En bref<\/h2>\n<ul>\n<li><strong>Artiste :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/artist\/raphael\/\">Rapha\u00ebl (Raffaello Sanzio, 1483-1520)<\/a><\/li>\n<li><strong>Date :<\/strong> vers 1509-1511<\/li>\n<li><strong>Technique :<\/strong> fresque<\/li>\n<li><strong>Dimensions :<\/strong> environ 5 \u00d7 7,7 m<\/li>\n<li><strong>Commanditaire :<\/strong> le pape Jules II<\/li>\n<li><strong>Mouvement :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/movement\/renaissance\/\">Renaissance<\/a><\/li>\n<li><strong>Lieu de conservation :<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/museum\/apostolic-palace-vatican\/\">chambre de la Signature, palais apostolique, Vatican<\/a><\/li>\n<\/ul>\n<h2>Une biblioth\u00e8que pour un pape<\/h2>\n<p>En 1508, le pape Jules II fait venir \u00e0 Rome un jeune peintre de vingt-cinq ans, Rapha\u00ebl, pour d\u00e9corer ses appartements priv\u00e9s au Vatican. La premi\u00e8re pi\u00e8ce, aujourd&rsquo;hui appel\u00e9e chambre de la Signature, devait sans doute abriter la biblioth\u00e8que du pape. Rapha\u00ebl y peint, sur les quatre murs, les grands domaines du savoir : la th\u00e9ologie, la po\u00e9sie, le droit \u2013 et, avec <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em>, la philosophie.<\/p>\n<p>Au m\u00eame moment, \u00e0 quelques dizaines de m\u00e8tres, Michel-Ange peint la vo\u00fbte de la chapelle Sixtine, avec <a href=\"https:\/\/artworkpost.com\/fr\/la-creation-dadam\/\">La Cr\u00e9ation d&rsquo;Adam<\/a>. Les deux artistes travaillent pour le m\u00eame pape, presque c\u00f4te \u00e0 c\u00f4te, et se jaugent.<\/p>\n<h2>Platon, Aristote et les autres<\/h2>\n<p>Sous une immense architecture de vo\u00fbtes et d&rsquo;arcs, inspir\u00e9e des projets de Bramante pour la nouvelle basilique Saint-Pierre, plus de cinquante penseurs de l&rsquo;Antiquit\u00e9 se rassemblent, discutent, \u00e9crivent, enseignent. Ils n&rsquo;ont jamais v\u00e9cu ensemble : Rapha\u00ebl les r\u00e9unit dans un espace id\u00e9al, hors du temps.<\/p>\n<p>Au centre, sous l&rsquo;arc, deux hommes s&rsquo;avancent. Platon, \u00e0 gauche, tient son <em>Tim\u00e9e<\/em> et l\u00e8ve l&rsquo;index vers le ciel : pour lui, la v\u00e9rit\u00e9 se trouve dans le monde des Id\u00e9es. Aristote, \u00e0 droite, tient son <em>\u00c9thique<\/em> et tend la main \u00e0 plat vers le sol : la connaissance part de l&rsquo;observation du monde r\u00e9el. En deux gestes, Rapha\u00ebl r\u00e9sume deux grandes mani\u00e8res de penser.<\/p>\n<p>Platon porte, selon une tradition ancienne, les traits de L\u00e9onard de Vinci, l&rsquo;auteur de <a href=\"https:\/\/artworkpost.com\/fr\/la-joconde\/\">La Joconde<\/a> et de <a href=\"https:\/\/artworkpost.com\/fr\/la-cene\/\">La C\u00e8ne<\/a>, avec sa longue barbe blanche.<\/p>\n<h2>Symbolisme et d\u00e9tails \u00e0 observer<\/h2>\n<p><strong>Socrate.<\/strong> \u00c0 gauche de Platon, v\u00eatu de vert, il compte ses arguments sur ses doigts devant un groupe de jeunes gens.<\/p>\n<p><strong>Pythagore.<\/strong> Au premier plan \u00e0 gauche, il \u00e9crit dans un livre ; un \u00e9l\u00e8ve lui pr\u00e9sente une tablette.<\/p>\n<p><strong>Diog\u00e8ne.<\/strong> \u00c0 demi allong\u00e9 sur les marches, au centre, le philosophe cynique ignore tout le monde.<\/p>\n<p><strong>Euclide.<\/strong> Au premier plan \u00e0 droite, pench\u00e9, il trace une figure au compas devant ses \u00e9l\u00e8ves. Il aurait les traits de l&rsquo;architecte Bramante, compatriote et protecteur de Rapha\u00ebl.<\/p>\n<p><strong>Ptol\u00e9m\u00e9e et Zoroastre.<\/strong> Juste derri\u00e8re, l&rsquo;un tient le globe terrestre, l&rsquo;autre la sph\u00e8re c\u00e9leste.<\/p>\n<p><strong>Rapha\u00ebl lui-m\u00eame.<\/strong> Tout \u00e0 droite, un jeune homme au b\u00e9ret sombre regarde le spectateur : c&rsquo;est l&rsquo;autoportrait du peintre, qui se place parmi les savants.<\/p>\n<p><strong>H\u00e9raclite.<\/strong> Au premier plan, seul, la t\u00eate appuy\u00e9e sur la main, il est v\u00eatu d&rsquo;une blouse et de bottes de travail, et peint dans un style massif et sculptural qui imite celui de Michel-Ange. Les noms des philosophes ne figurent nulle part sur la fresque : la plupart des identifications reposent sur la tradition et les attributs des personnages.<\/p>\n<h2>Le carton de Milan<\/h2>\n<p>Pour peindre une fresque, il fallait d&rsquo;abord dessiner la composition \u00e0 taille r\u00e9elle sur un grand papier, le \u00ab carton \u00bb, puis la reporter sur l&rsquo;enduit frais. La plupart des cartons \u00e9taient d\u00e9truits par l&rsquo;usage. Celui de <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em>, lui, a surv\u00e9cu : c&rsquo;est un ensemble unique, aujourd&rsquo;hui conserv\u00e9 \u00e0 la Pinacoth\u00e8que Ambrosienne de Milan, dans une salle qui lui est consacr\u00e9e depuis sa restauration, achev\u00e9e en 2019.<\/p>\n<p>Sur ce carton, il n&rsquo;y a pas d&rsquo;H\u00e9raclite, ni d&rsquo;architecture. La place du philosophe est vide. C&rsquo;est la preuve que Rapha\u00ebl l&rsquo;a ajout\u00e9 \u00e0 la fin, sur un enduit refait sp\u00e9cialement \u2013 un geste rare dans une fresque d\u00e9j\u00e0 termin\u00e9e.<\/p>\n<h2>\u00c0 propos de Rapha\u00ebl<\/h2>\n<p>Raffaello Sanzio na\u00eet \u00e0 Urbino en 1483, fils d&rsquo;un peintre de la cour. Form\u00e9 dans l&rsquo;atelier du P\u00e9rugin, il d\u00e9couvre \u00e0 Florence l&rsquo;art de L\u00e9onard et de Michel-Ange, puis s&rsquo;installe \u00e0 Rome en 1508. Il y devient en quelques ann\u00e9es le peintre favori des papes Jules II et L\u00e9on X, \u00e0 la t\u00eate d&rsquo;un grand atelier, mais aussi architecte de la basilique Saint-Pierre.<\/p>\n<p>Il meurt brutalement le 6 avril 1520, le jour de ses trente-sept ans. Selon son souhait, il est enterr\u00e9 au <a href=\"https:\/\/artworkpost.com\/fr\/pantheon\/\">Panth\u00e9on<\/a> de Rome, o\u00f9 sa tombe est toujours visible.<\/p>\n<h2>H\u00e9ritage et influence<\/h2>\n<p>Pendant plus de trois si\u00e8cles, <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em> a \u00e9t\u00e9 le mod\u00e8le absolu de la \u00ab grande peinture \u00bb : clart\u00e9 de la composition, perfection de la perspective, harmonie des figures, id\u00e9al d&rsquo;une culture o\u00f9 l&rsquo;Antiquit\u00e9 et le christianisme dialoguent. Les acad\u00e9mies de peinture de toute l&rsquo;Europe l&rsquo;ont \u00e9tudi\u00e9e et copi\u00e9e.<\/p>\n<p>La fresque reste aujourd&rsquo;hui l&rsquo;une des images les plus connues de la philosophie. Le geste de Platon et celui d&rsquo;Aristote illustrent d&rsquo;innombrables livres et manuels. Elle \u00e9voque aussi la Gr\u00e8ce antique, celle du <a href=\"https:\/\/artworkpost.com\/fr\/parthenon\/\">Parth\u00e9non<\/a>, dont Rapha\u00ebl n&rsquo;a pourtant jamais vu les ruines.<\/p>\n<h2>Et en France ?<\/h2>\n<p><strong>Le carton au Louvre.<\/strong> En 1796, apr\u00e8s les victoires de Bonaparte en Italie, le carton de <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em> fait partie des \u0153uvres saisies et envoy\u00e9es \u00e0 Paris. Il est expos\u00e9 au Louvre, dans la galerie d&rsquo;Apollon, pendant pr\u00e8s de vingt ans. Apr\u00e8s Waterloo, en 1815, il est rendu \u00e0 Milan.<\/p>\n<p><strong>Une \u00c9cole d&rsquo;Ath\u00e8nes de six m\u00e8tres sur neuf.<\/strong> Au XIX<sup>e<\/sup> si\u00e8cle, l&rsquo;\u00c9tat fran\u00e7ais veut offrir aux \u00e9l\u00e8ves peintres des copies \u00e0 taille r\u00e9elle des chefs-d&rsquo;\u0153uvre italiens. Sous la direction d&rsquo;Ingres, grand admirateur de Rapha\u00ebl, le peintre Paul Balze r\u00e9alise une immense copie \u00e0 l&rsquo;huile de <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em>, de six m\u00e8tres sur neuf. Elle a \u00e9t\u00e9 expos\u00e9e un temps au Panth\u00e9on de Paris, puis rendue \u00e0 l&rsquo;\u00c9cole des Beaux-Arts, qui la conserve. Un calque en a m\u00eame \u00e9t\u00e9 tir\u00e9 pour la biblioth\u00e8que Sainte-Genevi\u00e8ve, o\u00f9 cette \u00ab copie de copie \u00bb est toujours visible.<\/p>\n<p><strong>Michel-Ange \u00e0 c\u00f4t\u00e9.<\/strong> Dans la m\u00eame \u00e9cole, la chapelle des Petits-Augustins abrite une autre copie monumentale, celle du <em>Jugement dernier<\/em> de Michel-Ange, command\u00e9e en 1833 au peintre Xavier Sigalon et restaur\u00e9e en 2022-2023. Rapha\u00ebl et Michel-Ange se font face, une fois encore, \u00e0 Paris. Nous parlons des copies et des versions dans <a href=\"https:\/\/artworkpost.com\/fr\/quelle-version-regardez-vous\/\">Quelle version regardez-vous ?<\/a><\/p>\n<p><strong>Rapha\u00ebl au Louvre.<\/strong> Le mus\u00e9e du Louvre conserve plusieurs chefs-d&rsquo;\u0153uvre de Rapha\u00ebl, dont <em>La Belle Jardini\u00e8re<\/em> et le portrait de son ami Baldassare Castiglione.<\/p>\n<h2>O\u00f9 voir l&rsquo;\u0153uvre aujourd&rsquo;hui<\/h2>\n<p><em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em> se trouve dans la chambre de la Signature, l&rsquo;une des \u00ab Chambres de Rapha\u00ebl \u00bb, au palais apostolique, dans le parcours des mus\u00e9es du Vatican, \u00e0 Rome.<\/p>\n<ul>\n<li><strong>R\u00e9servez en ligne<\/strong>, longtemps \u00e0 l&rsquo;avance en haute saison. Les mus\u00e9es du Vatican sont g\u00e9n\u00e9ralement ferm\u00e9s le dimanche, sauf le dernier dimanche du mois ; v\u00e9rifiez les horaires sur leur site.<\/li>\n<li><strong>Pr\u00e9voyez du temps<\/strong> : les Chambres de Rapha\u00ebl se trouvent sur le parcours qui m\u00e8ne \u00e0 la chapelle Sixtine.<\/li>\n<li><strong>Regardez les quatre murs<\/strong> de la chambre de la Signature : <em>L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes<\/em> fait face \u00e0 la <em>Dispute du Saint-Sacrement<\/em>, consacr\u00e9e \u00e0 la th\u00e9ologie.<\/li>\n<li><strong>\u00c0 Milan<\/strong>, la Pinacoth\u00e8que Ambrosienne pr\u00e9sente le carton original.<\/li>\n<li><strong>\u00c0 Paris<\/strong>, la copie de l&rsquo;\u00c9cole des Beaux-Arts n&rsquo;est visible que lors de visites ou d&rsquo;ouvertures exceptionnelles ; celle de la biblioth\u00e8que Sainte-Genevi\u00e8ve se voit plus facilement.<\/li>\n<\/ul>\n<h2>Questions fr\u00e9quentes<\/h2>\n<h3>Qui sont les deux personnages au centre ?<\/h3>\n<p>Platon, qui montre le ciel, et Aristote, qui tend la main vers le sol. Platon porte, selon la tradition, les traits de L\u00e9onard de Vinci.<\/p>\n<h3>Michel-Ange figure-t-il dans la fresque ?<\/h3>\n<p>Oui, sous les traits d&rsquo;H\u00e9raclite, accoud\u00e9 au premier plan. Il est absent du carton pr\u00e9paratoire : Rapha\u00ebl l&rsquo;a ajout\u00e9 \u00e0 la fin, sans doute apr\u00e8s avoir vu la vo\u00fbte de la Sixtine en 1511.<\/p>\n<h3>Rapha\u00ebl s&rsquo;est-il repr\u00e9sent\u00e9 ?<\/h3>\n<p>Oui, tout \u00e0 droite, parmi les savants, le regard tourn\u00e9 vers le spectateur.<\/p>\n<h3>O\u00f9 se trouve le dessin pr\u00e9paratoire ?<\/h3>\n<p>\u00c0 la Pinacoth\u00e8que Ambrosienne de Milan. Il a \u00e9t\u00e9 expos\u00e9 au Louvre de la fin du XVIII<sup>e<\/sup> si\u00e8cle \u00e0 1815.<\/p>\n<h3>Peut-on voir L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes \u00e0 Paris ?<\/h3>\n<p>Une copie monumentale de Paul Balze est conserv\u00e9e \u00e0 l&rsquo;\u00c9cole des Beaux-Arts, et un calque de cette copie \u00e0 la biblioth\u00e8que Sainte-Genevi\u00e8ve.<\/p>\n<p>Rapha\u00ebl a peint une assembl\u00e9e id\u00e9ale o\u00f9 les plus grands esprits de l&rsquo;Antiquit\u00e9 dialoguent sous les vo\u00fbtes. Puis, au dernier moment, il y a ajout\u00e9 son rival, seul, pensif, dans un autre style que le sien. L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes c\u00e9l\u00e8bre la pens\u00e9e antique \u2013 et raconte aussi, \u00e0 qui sait regarder, une histoire tr\u00e8s humaine de rivalit\u00e9 et d&rsquo;admiration.<\/p>\n<p class=\"image-attribution\" style=\"font-size:0.85em;color:#666;\"><em>Image : L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes \u2013 Rapha\u00ebl, vers 1509-1511, chambre de la Signature, Vatican. Licence : domaine public. Source : <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:%22The_School_of_Athens%22_by_Raffaello_Sanzio_da_Urbino.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Au premier plan de L&rsquo;\u00c9cole d&rsquo;Ath\u00e8nes, un homme massif, en bottes, est accoud\u00e9 \u00e0 un bloc de marbre, la t\u00eate dans la main : c&rsquo;est H\u00e9raclite, avec les traits de Michel-Ange. Pourtant, il ne figure pas sur le grand dessin pr\u00e9paratoire de la fresque, conserv\u00e9 \u00e0 Milan. Rapha\u00ebl l&rsquo;a ajout\u00e9 apr\u00e8s coup, sans doute apr\u00e8s&#8230;<\/p>\n","protected":false},"author":1,"featured_media":828,"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":[3670,3674,3671,3675,3672,3669,585,1989,3673,1459],"artist":[3667],"movement":[581],"museum":[3668],"class_list":["post-833","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-peinture","tag-fresque","tag-humanisme","tag-palais-apostolique","tag-peinture-du-xvie-siecle","tag-philosophie-antique","tag-raphael","tag-renaissance-italienne","tag-rome","tag-stanza-della-segnatura","tag-vatican","artist-raphael","movement-renaissance","museum-apostolic-palace-vatican"],"yoast_head":"<!-- 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