{"id":3361,"date":"2024-12-24T22:25:31","date_gmt":"2024-12-24T21:25:31","guid":{"rendered":"https:\/\/www.daras.eu\/asm\/?page_id=3361"},"modified":"2025-04-12T19:49:42","modified_gmt":"2025-04-12T17:49:42","slug":"6-les-expositions","status":"publish","type":"page","link":"https:\/\/www.daras.eu\/asm\/6-les-expositions\/","title":{"rendered":"5 – Peintures de la campagne et des villages"},"content":{"rendered":"\t\t
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–<\/span>\u00a0<\/p>

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Peintures de la campagne et des villages<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Albert Siffait de Moncourt \u00ab\u00a0aime les froids cr\u00e9puscules et tout aussi bien les matinales et discr\u00e8tes lumi\u00e8res. Quoi d\u2019\u00e9tonnant si sa peinture fuit les violences ? Quoi d\u2019\u00e9tonnant si, naturaliste, elle baigne dans le myst\u00e8re et la po\u00e9sie m\u00eames de ce sol ?\u00a0\u00bb<\/strong>
XVII\u00e8me Exposition des Rosati Picards, 5-15 mars 1925 \u00e0 Amiens. Maurice Farcy<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Coin de rue avec marronniers en automne, huile sur toile. sign\u00e9 A de Moncourt. R\u00e9f\u00e9rence catalogue : ASM043 Coll. Part. <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Moulin \u00e0 vent \u00e0 Quend R\u00e9f. Cat. ASM018, Coll. Part.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Hameau de Larronville (commune de Rue). R\u00e9f. catalogue ASM037<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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D\u00e9but de la moisson. R\u00e9f. catalogue ASM017<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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–<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Pourquoi l’automne est sa saison pr\u00e9f\u00e9r\u00e9e ?<\/strong><\/span><\/p>

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\n\t\t\t\t\"Il lui faut la m\u00e9lancolie de l'automne, cette saison qu'il a comprise et aim\u00e9e plus que les autres, pour rendre la m\u00e9lancolie d'un vieux ch\u00e2teau, dont la grille reste close, comme dans le tableau qu'il exposait en 1913, sous le titre : Grille de parc; ah ! comme il a su rendre expressive cette grille ferm\u00e9e ! La m\u00eame ann\u00e9e, il nous faisait m\u00e9diter devant une rue de province, une de ces rues o\u00f9 l'herbe pousse entre les pav\u00e9s. Comme elle est bien silencieuse cette rue ou presque personne ne passe, cette rue ensommeill\u00e9e, ou le pinceau de l'artiste est all\u00e9 chercher je ne sais quel r\u00eave. Sommeil de l'automne; sommeil profond, de l'hiver; places exigu\u00ebs o\u00f9 la chute d'une feuille morte est un bruit; escalier, dont les marches us\u00e9es font penser que ceux qui l'ont mont\u00e9 n'y repasseront jamais; lumi\u00e8re discr\u00e8te, tamis\u00e9e par le brouillard, \u00e9clairant un canal au cours alangui; maisons basses qui se mirent dans les flaques d'eau, que la pluie a oubli\u00e9es au creux des orni\u00e8res ; bornes de pierre r\u00e9unies par une cha\u00eene de fer, que la rouille d\u00e9vore; arbres rabougris courbes par l'effort du vent de mer; voil\u00e0 toutes les expressions par lesquelles s'est traduit le talent plein d'une po\u00e9sie nostalgique et prenante de cet artiste si d\u00e9licat que fut Albert de Moncourt.\"\n\t\t\t<\/p>\n\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\tArtistes de notre temps, Emile Langlade, 1933<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\"\"<\/a><\/figure>

PRECEDENT<\/a><\/h3>

Peinture des villes<\/p><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\"\"<\/a><\/figure>

SUIVANT<\/a><\/h3>

Autres peintures<\/p><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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–\u00a0 \u00a0 Peintures de la campagne et des villages Albert Siffait de Moncourt \u00ab\u00a0aime les froids cr\u00e9puscules et tout aussi bien les matinales et discr\u00e8tes lumi\u00e8res. Quoi d\u2019\u00e9tonnant si sa peinture fuit les violences ? Quoi d\u2019\u00e9tonnant si, naturaliste, elle baigne dans le myst\u00e8re et la po\u00e9sie m\u00eames de ce sol ?\u00a0\u00bbXVII\u00e8me Exposition des Rosati […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-3361","page","type-page","status-publish","hentry"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"xdaras","author_link":"https:\/\/www.daras.eu\/asm\/author\/xdaras\/"},"rttpg_comment":0,"rttpg_category":null,"rttpg_excerpt":"–\u00a0 \u00a0 Peintures de la campagne et des villages Albert Siffait de Moncourt \u00ab\u00a0aime les froids cr\u00e9puscules et tout aussi bien les matinales et discr\u00e8tes lumi\u00e8res. Quoi d\u2019\u00e9tonnant si sa peinture fuit les violences ? Quoi d\u2019\u00e9tonnant si, naturaliste, elle baigne dans le myst\u00e8re et la po\u00e9sie m\u00eames de ce sol ?\u00a0\u00bbXVII\u00e8me Exposition des Rosati\u2026","_links":{"self":[{"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/pages\/3361","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/comments?post=3361"}],"version-history":[{"count":208,"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/pages\/3361\/revisions"}],"predecessor-version":[{"id":8486,"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/pages\/3361\/revisions\/8486"}],"wp:attachment":[{"href":"https:\/\/www.daras.eu\/asm\/wp-json\/wp\/v2\/media?parent=3361"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}