{"id":2958,"date":"2024-04-26T00:05:21","date_gmt":"2024-04-25T22:05:21","guid":{"rendered":"https:\/\/www.thierry-groensteen.fr\/?p=2958"},"modified":"2024-04-18T17:17:17","modified_gmt":"2024-04-18T15:17:17","slug":"catherine-meurisse-entre-deux-rives","status":"publish","type":"post","link":"https:\/\/www.thierry-groensteen.fr\/index.php\/2024\/04\/26\/catherine-meurisse-entre-deux-rives\/","title":{"rendered":"Catherine Meurisse entre deux rives"},"content":{"rendered":"

\u00c0 premi\u00e8re vue, la couverture du recueil de dessins que Catherine Meurisse vient de faire para\u00eetre aux \u00e9ditions Barbier, \u00e0 la suite d\u2019une exposition organis\u00e9e par la galerie du m\u00eame nom, repr\u00e9sente une faille plut\u00f4t qu\u2019un passage. Le Passage<\/em>, tel est pourtant le titre de l\u2019ouvrage, pr\u00e9fac\u00e9 par Blutch, et qui t\u00e9moigne ici et l\u00e0 de l\u2019influence de ce dernier sur la dessinatrice de La L\u00e9g\u00e8ret\u00e9<\/em>.<\/p>\n

Entre deux rochers verts qui pourraient \u00eatre emprunt\u00e9s \u00e0 un paysage fantastique de Max Ernst, le corps de Catherine Meurisse jette une passerelle. Elle semble coinc\u00e9e l\u00e0, en \u00e9quilibre pr\u00e9caire au-dessus de cette profonde crevasse, crev\u00e9e elle-m\u00eame, \u00e9puis\u00e9e, d\u00e9pourvue de l\u2019\u00e9nergie qu\u2019il faudrait pour franchir l\u2019obstacle.<\/p>\n

Mais, \u00e0 mieux y regarder, cette premi\u00e8re lecture se r\u00e9v\u00e8le erron\u00e9e. La jeune femme ne cherche pas \u00e0 prendre pied de l\u2019autre c\u00f4t\u00e9, elle veut se maintenir, au contraire, malgr\u00e9 l\u2019inconfort, dans ce qui constitue pour elle un poste d\u2019observation. Car ses yeux plongeant dans le puits sont \u00e0 la verticale d\u2019un tableau coinc\u00e9 plus bas dans l\u2019anfractuosit\u00e9. Un tableau dans lequel il est ais\u00e9 de reconna\u00eetre un d\u00e9tail d\u2019une c\u00e9l\u00e8bre toile d\u2019Ingres, tir\u00e9e d\u2019une sc\u00e8ne du Roland furieux<\/em> de l\u2019Arioste, celle o\u00f9 Roger, chevauchant un hippogriffe, d\u00e9livre Ang\u00e9lique du monstre marin auquel, attach\u00e9e \u00e0 un rocher, elle a \u00e9t\u00e9 jet\u00e9e en p\u00e2ture. On se trouve donc face \u00e0 une surprenante mise en abyme de l\u2019id\u00e9e d\u2019emp\u00eachement\u00a0: une spectatrice qui se met dans une posture d\u00e9licate pour entrer dans un dialogue muet avec une autre femme entrav\u00e9e.<\/p>\n

\"Couverture

\u00a9 Catherine Meurisse \/ galerie Barbier, 2024<\/p><\/div>\n

Sans doute pourrait-on proposer diff\u00e9rentes interpr\u00e9tations de cette sc\u00e8ne \u00e9nigmatique. Elle introduit magnifiquement la collection d\u2019images qui suit, d\u00e9di\u00e9es, une fois encore, \u00e0 la beaut\u00e9 et \u00e0 l\u2019espace, \u00e0 l\u2019impr\u00e9gnation muette et nourrici\u00e8re que l\u2019un et l\u2019autre procurent, consolatrice et, parfois aussi, porteuse d\u2019inqui\u00e9tude. Nous allons de sc\u00e8ne muette en sc\u00e8ne muette, souvent nocturnes, reconnaissant en passant un clin d\u2019\u0153il \u00e0 D\u00fcrer, un autre \u00e0 Beguin, avec les jardins de la Villa M\u00e9dicis comme d\u00e9cor principal. Catherine Meurisse nimbe la plupart de ces dessins d\u2019un myst\u00e8re qui confine souvent \u00e0 l\u2019interrogation m\u00e9taphysique\u00a0; et, dans le m\u00eame temps, elle multiple les pas de c\u00f4t\u00e9, les pieds de nez, introduit des d\u00e9tails incongrus ou insolents qui nous arrachent des sourires. Un \u00e9cart permanent qui semble t\u00e9moigner du statut qui est le sien aujourd\u2019hui, dessinatrice d\u2019humour et en m\u00eame temps acad\u00e9micienne qui tutoie Delacroix. C\u2019est finalement aussi de cette amplitude-l\u00e0 que t\u00e9moigne m\u00e9taphoriquement l\u2019image de couverture, qui la montre \u00e9cartel\u00e9e\u00a0; tout comme cet autre dessin, pages 62-63, o\u00f9, son carton \u00e0 dessins sous le bras, elle avance telle une funambule, mais d\u2019un pas n\u00e9anmoins assur\u00e9, sur un tronc couch\u00e9 permettant le franchissement d\u2019une rivi\u00e8re \u2013 d\u2019apr\u00e8s Passerelle en bois au-dessus de la L\u00fctschine pr\u00e8s de Steig<\/em>, du Suisse Caspar Wolf (1735-1783).<\/p>\n

Une absence est frappante dans ce beau livre o\u00f9 dialoguent la femme, l\u2019animal, l\u2019art et la nature, o\u00f9 se forent entre ces quatre instances toutes sortes de passages<\/em>\u00a0: celle de l\u2019homme (\u00e0 l\u2019exception d\u2019une apparition anecdotique). Aussi vais-je me retirer sur la pointe des pieds.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 premi\u00e8re vue, la couverture du recueil de dessins que Catherine Meurisse vient de faire para\u00eetre aux \u00e9ditions Barbier, \u00e0 la suite d\u2019une exposition organis\u00e9e par la galerie du m\u00eame nom, repr\u00e9sente une faille plut\u00f4t qu\u2019un passage. Le Passage, tel est pourtant le titre de l\u2019ouvrage, pr\u00e9fac\u00e9 par Blutch, et qui t\u00e9moigne ici et […]<\/p>\n","protected":false},"author":1,"featured_media":2961,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-2958","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mon-blog"],"acf":[],"yoast_head":"\nCatherine Meurisse entre deux rives - le site de Thierry Groensteen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.thierry-groensteen.fr\/index.php\/2024\/04\/26\/catherine-meurisse-entre-deux-rives\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Catherine Meurisse entre deux rives - le site de Thierry Groensteen\" \/>\n<meta property=\"og:description\" content=\"\u00c0 premi\u00e8re vue, la couverture du recueil de dessins que Catherine Meurisse vient de faire para\u00eetre aux \u00e9ditions Barbier, \u00e0 la suite d\u2019une exposition organis\u00e9e par la galerie du m\u00eame nom, repr\u00e9sente une faille plut\u00f4t qu\u2019un passage. 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