{"id":893,"date":"2026-07-19T05:23:32","date_gmt":"2026-07-19T05:23:32","guid":{"rendered":"https:\/\/artworkpost.com\/le-deux-mai-1808\/"},"modified":"2026-07-19T05:23:32","modified_gmt":"2026-07-19T05:23:32","slug":"le-deux-mai-1808","status":"publish","type":"post","link":"https:\/\/artworkpost.com\/fr\/le-deux-mai-1808\/","title":{"rendered":"Le Deux mai 1808"},"content":{"rendered":"<p class=\"lead\"><strong>Saviez-vous que <strong>Le Deux mai 1808<\/strong> fut peint par Goya six ans apr\u00e8s les \u00e9v\u00e9nements qu&rsquo;il repr\u00e9sente \u2014 non pas comme t\u00e9moin imm\u00e9diat, mais comme acte politique d\u00e9lib\u00e9r\u00e9, au moment pr\u00e9cis o\u00f9 Napol\u00e9on venait d&rsquo;\u00eatre vaincu ? Cette toile n&rsquo;est pas un simple reportage de guerre : c&rsquo;est une d\u00e9claration de r\u00e9sistance.<\/strong><\/p>\n<h2>En bref<\/h2>\n<ul>\n<li><strong>Artiste:<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/artist\/francisco-goya\/\">Francisco Goya<\/a><\/li>\n<li><strong>Ann\u00e9e:<\/strong> 1814<\/li>\n<li><strong>Technique:<\/strong> Huile sur toile<\/li>\n<li><strong>Dimensions:<\/strong> 268 \u00d7 347 cm<\/li>\n<li><strong>Mouvement:<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/movement\/romanticism\/\">Romantisme<\/a><\/li>\n<li><strong>Localisation actuelle:<\/strong> <a href=\"https:\/\/artworkpost.com\/fr\/museum\/prado-madrid\/\">Prado, Madrid<\/a><\/li>\n<\/ul>\n<h2>Qu&rsquo;est-ce qui rend cette \u0153uvre inoubliable ?<\/h2>\n<p>Il n&rsquo;existe pratiquement aucune autre peinture dans l&rsquo;histoire de l&rsquo;art occidental qui rende la violence de rue avec une telle \u00e9nergie brute. <strong>Le Deux mai 1808<\/strong> ne glorifie pas la guerre \u00e0 la mani\u00e8re des grandes compositions acad\u00e9miques de l&rsquo;\u00e9poque. Au contraire, Goya plonge le spectateur au c\u0153ur du chaos, sans distance, sans h\u00e9ros clairement d\u00e9sign\u00e9s.<\/p>\n<p>Ce qui frappe avant tout, c&rsquo;est l&rsquo;absence totale de solennit\u00e9. Les corps s&rsquo;entrem\u00ealent, les chevaux se cabrent, les couteaux brillent. Goya refuse la mise en sc\u00e8ne ordonn\u00e9e. Il choisit la m\u00eal\u00e9e, le d\u00e9sordre, la sueur. C&rsquo;est pour cette raison que l&rsquo;\u0153uvre reste d&rsquo;une modernit\u00e9 troublante, bien au-del\u00e0 du contexte historique qui l&rsquo;a vu na\u00eetre.<\/p>\n<h2>Contexte historique<\/h2>\n<p>Le 2 mai 1808, les habitants de Madrid se soul\u00e8vent contre l&rsquo;occupation fran\u00e7aise. Napol\u00e9on a plac\u00e9 son fr\u00e8re Joseph Bonaparte sur le tr\u00f4ne d&rsquo;Espagne, et la r\u00e9sistance populaire \u00e9clate spontan\u00e9ment dans les rues de la capitale. Pr\u00e8s de la Puerta del Sol et de la Calle de Alcal\u00e1, des civils espagnols affrontent \u00e0 mains nues les cavaliers mamelouks \u2014 soldats d&rsquo;\u00e9lite de l&rsquo;arm\u00e9e napol\u00e9onienne \u2014 dans un combat aussi courageux que d\u00e9sesp\u00e9r\u00e9.<\/p>\n<p>Goya ne peint pas la sc\u00e8ne sur le vif. En 1814, alors que Ferdinand VII vient de retrouver le tr\u00f4ne, l&rsquo;artiste sollicite lui-m\u00eame la commission aupr\u00e8s du gouvernement provisoire. Il veut comm\u00e9morer le soul\u00e8vement. Ce contexte politique est essentiel : la toile sert \u00e0 la fois de m\u00e9morial et de manifeste. Elle affirme que le peuple espagnol n&rsquo;a jamais cess\u00e9 de r\u00e9sister.<\/p>\n<p>Sur le plan artistique, l&rsquo;Europe traverse alors une p\u00e9riode de profonde remise en question. Le n\u00e9oclassicisme davidien commence \u00e0 c\u00e9der la place \u00e0 une sensibilit\u00e9 nouvelle, plus \u00e9motionnelle, plus individuelle. Goya anticipe le Romantisme sans en \u00e9pouser tous les codes. Il est, \u00e0 bien des \u00e9gards, un pr\u00e9curseur solitaire.<\/p>\n<h2>Symbolisme et points \u00e0 observer<\/h2>\n<p>Placez-vous devant cette toile et regardez d&rsquo;abord la composition g\u00e9n\u00e9rale. Goya organise la sc\u00e8ne en deux masses qui s&rsquo;affrontent : les cavaliers mamelouks, v\u00eatus de leurs tenues orientales color\u00e9es, et le groupe compact des Madril\u00e8nes au sol. L&rsquo;\u0153il est imm\u00e9diatement happ\u00e9 par ce choc frontal.<\/p>\n<p>Observez ensuite la palette chromatique. Goya utilise des tons terreux et sombres pour le fond, mais il fait \u00e9clater des touches de rouge vif, de blanc et d&rsquo;or sur les uniformes et les turbans des cavaliers. Ce contraste souligne l&rsquo;\u00e9tranget\u00e9 de ces soldats venus de loin, impos\u00e9s \u00e0 un peuple qui n&rsquo;en voulait pas.<\/p>\n<p>Portez attention aux visages des combattants espagnols. Ils ne sont pas id\u00e9alis\u00e9s. Certains affichent une expression de rage pure, d&rsquo;autres une d\u00e9termination farouche. Un homme saisit un cheval par les r\u00eanes, un autre l\u00e8ve un couteau. Ce sont des gens ordinaires, pas des soldats professionnels. Goya tient \u00e0 le montrer.<\/p>\n<p>Enfin, remarquez la lumi\u00e8re. Elle n&rsquo;est pas naturelle : Goya l&rsquo;intensifie pour dramatiser certains gestes, certains visages. Cette technique annonce les grands expressionnistes du si\u00e8cle suivant. La lumi\u00e8re ici n&rsquo;\u00e9claire pas, elle accuse.<\/p>\n<h2>\u00c0 propos de Francisco Goya<\/h2>\n<p>Francisco Jos\u00e9 de Goya y Lucientes na\u00eet en 1746 \u00e0 Fuendetodos, en Aragon. Il gravit patiemment les \u00e9chelons du monde artistique espagnol jusqu&rsquo;\u00e0 devenir Premier peintre de la Cour de Charles IV en 1799. Portraitiste brillant, il excelle \u00e0 saisir la psychologie de ses mod\u00e8les avec une acuit\u00e9 parfois cruelle.<\/p>\n<p>Vers 1792, une grave maladie le laisse sourd. Cette \u00e9preuve transforme profond\u00e9ment son regard sur le monde. Sa peinture bascule vers des territoires plus sombres, plus int\u00e9rieurs. Les \u00ab Peintures noires \u00bb qu&rsquo;il r\u00e9alise sur les murs de sa maison \u00e0 la fin de sa vie \u2014 dont <em>Saturne d\u00e9vorant son fils<\/em> \u2014 t\u00e9moignent d&rsquo;une libert\u00e9 formelle absolument sans \u00e9quivalent \u00e0 son \u00e9poque.<\/p>\n<p>Goya meurt \u00e0 Bordeaux en 1828. Il laisse une \u0153uvre immense, \u00e0 la crois\u00e9e de plusieurs si\u00e8cles, que l&rsquo;on peut consid\u00e9rer comme le pont entre le monde de V\u00e9lasquez et celui de Manet.<\/p>\n<h2>H\u00e9ritage et influence<\/h2>\n<p><strong>Le Deux mai 1808<\/strong> a profond\u00e9ment marqu\u00e9 l&rsquo;histoire de la repr\u00e9sentation de la guerre. \u00c9douard Manet connaissait parfaitement Goya lorsqu&rsquo;il composa <em>L&rsquo;Ex\u00e9cution de Maximilien<\/em> en 1867. La dette est \u00e9vidente dans la frontalit\u00e9, dans le refus de l&rsquo;h\u00e9ro\u00efsme convenu.<\/p>\n<p>Plus largement, cette toile ouvre la voie \u00e0 une conception moderne de l&rsquo;art engag\u00e9. Elle d\u00e9montre qu&rsquo;une \u0153uvre peut \u00e0 la fois \u00eatre un chef-d&rsquo;\u0153uvre pictural et un acte politique. Picasso s&rsquo;en souviendra en peignant <em>Guernica<\/em> en 1937 \u2014 une autre r\u00e9ponse espagnole \u00e0 la violence de masse.<\/p>\n<p>Aujourd&rsquo;hui, le tableau demeure une r\u00e9f\u00e9rence incontournable dans les d\u00e9bats sur la repr\u00e9sentation de la violence et du conflit arm\u00e9. Il figure dans presque tous les programmes d&rsquo;histoire de l&rsquo;art \u00e0 travers le monde.<\/p>\n<h2>O\u00f9 voir l&rsquo;\u0153uvre aujourd&rsquo;hui<\/h2>\n<p>La toile est expos\u00e9e en permanence au <strong>Museo del Prado<\/strong> \u00e0 Madrid, salle 64, aux c\u00f4t\u00e9s de son pendant indissociable, <em>Le Trois mai 1808<\/em>. Ces deux \u0153uvres se font face, comme deux temps d&rsquo;un m\u00eame drame.<\/p>\n<p>Conseil pratique : arrivez t\u00f4t le matin, d\u00e8s l&rsquo;ouverture \u00e0 10 h, pour \u00e9viter les groupes scolaires et les tours organis\u00e9s. Le mus\u00e9e ferme \u00e0 20 h du lundi au samedi. L&rsquo;entr\u00e9e est gratuite le soir, de 18 h \u00e0 20 h. Pr\u00e9voyez au minimum deux heures pour la salle Goya et ses environs imm\u00e9diats.<\/p>\n<p>\u00c0 proximit\u00e9, ne manquez pas les grandes toiles de V\u00e9lasquez \u2014 notamment <em>Las Meninas<\/em> \u2014 ainsi que les \u0153uvres du Greco, qui forment avec Goya le triumvirat de la peinture espagnole au Prado.<\/p>\n<h2>Questions fr\u00e9quentes<\/h2>\n<h3>Pourquoi Goya a-t-il peint Le Deux mai 1808 six ans apr\u00e8s les \u00e9v\u00e9nements ?<\/h3>\n<p>Goya attendit la chute de Napol\u00e9on et le retour de Ferdinand VII pour proposer cette comm\u00e9moration. Peindre sous l&rsquo;occupation aurait \u00e9t\u00e9 politiquement dangereux, voire impossible.<\/p>\n<h3>Qui sont les Mamelouks repr\u00e9sent\u00e9s dans le tableau ?<\/h3>\n<p>Les Mamelouks \u00e9taient des soldats d&rsquo;origine orientale int\u00e9gr\u00e9s \u00e0 la garde imp\u00e9riale napol\u00e9onienne. Leur pr\u00e9sence \u00e0 Madrid symbolisait pour les Espagnols l&rsquo;aspect \u00e9tranger et oppressif de l&rsquo;occupation fran\u00e7aise.<\/p>\n<h3>Quelle est la diff\u00e9rence entre Le Deux mai et Le Trois mai 1808 ?<\/h3>\n<p>Le Deux mai montre le soul\u00e8vement et les combats dans les rues. Le Trois mai repr\u00e9sente les ex\u00e9cutions des insurgents espagnols par les soldats fran\u00e7ais, le lendemain. Les deux tableaux forment un diptyque narratif et \u00e9motionnel.<\/p>\n<h3>Le Deux mai 1808 est-il une \u0153uvre romantique ?<\/h3>\n<p>Oui, dans son \u00e9lan \u00e9motionnel et son traitement expressif. Toutefois, Goya d\u00e9passe les cadres du Romantisme classique : il anticipe des courants bien plus tardifs, comme l&rsquo;expressionnisme.<\/p>\n<h3>Goya \u00e9tait-il pr\u00e9sent lors des \u00e9v\u00e9nements du 2 mai 1808 ?<\/h3>\n<p>On ne sait pas avec certitude s&rsquo;il fut t\u00e9moin direct des combats. Certains historiens le pensent possible, puisqu&rsquo;il vivait \u00e0 Madrid \u00e0 cette \u00e9poque, mais aucun document ne le confirme formellement.<\/p>\n<p>Vous venez de plonger dans l&rsquo;une des \u0153uvres les plus intenses de toute l&rsquo;histoire de l&rsquo;art europ\u00e9en. Explorez d\u00e8s maintenant les autres chefs-d&rsquo;\u0153uvre de Goya et du Romantisme sur notre site \u2014 chaque tableau a sa propre histoire \u00e0 vous raconter.<\/p>\n<p class=\"image-attribution\" style=\"font-size:0.85em;color:#666;\"><em>Image: The Second of May 1808 \u2013 Francisco Goya (1814). Licence: Public Domain. Source: <a href=\"https:\/\/en.wikipedia.org\/wiki\/File:El_dos_de_mayo_de_1808_en_Madrid.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Saviez-vous que Le Deux mai 1808 fut peint par Goya six ans apr\u00e8s les \u00e9v\u00e9nements qu&rsquo;il repr\u00e9sente \u2014 non pas comme t\u00e9moin imm\u00e9diat, mais comme acte politique d\u00e9lib\u00e9r\u00e9, au moment pr\u00e9cis o\u00f9 Napol\u00e9on venait d&rsquo;\u00eatre vaincu ? Cette toile n&rsquo;est pas un simple reportage de guerre : c&rsquo;est une d\u00e9claration de r\u00e9sistance. En bref Artiste:&#8230;<\/p>\n","protected":false},"author":1,"featured_media":888,"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":[3879,3872,4027,4081,4080,3877,1375,4029,3874,4079],"artist":[3871],"movement":[470],"museum":[1371],"class_list":["post-893","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-peinture","tag-art-du-xixe-siecle","tag-francisco-goya","tag-guerre-napoleonienne","tag-histoire-de-lart","tag-peinture-de-guerre","tag-peinture-espagnole","tag-prado-madrid","tag-resistance-espagnole","tag-romantisme","tag-soulevement-de-madrid","artist-francisco-goya","movement-romanticism","museum-prado-madrid"],"yoast_head":"<!-- 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