En revanche, la production du xviiie s. est marquée par un goût excessif pour les applications d’or et les effets colorés. Plateaux, écritoires et bibelots divers, les inro surtout (petites boîtes à pilules), ne relèvent plus que d’un artisanat habile. Un renouveau s’amorce au xixe s., et, depuis lors, certains artistes se tournent vers des recherches plus originales.
F. D.
U. A. Casal, Japanese Art Lacquers (Tōkyō, 1961). / B. von Ragué, Geschichte der japanischen Lackkunst (Berlin, 1967). / S. Lévy, Laques vénitiennes du xviiie siècle (S. F. L., 1969 ; 2 vol.).
Largillière (Nicolas de)
Peintre français (Paris 1656 - id. 1746).
Fils d’un négociant parisien établi à Anvers, Largillière (ou Largillierre) entre en 1668 dans l’atelier d’Antoine Goubau (baptisé en 1616 - 1698), paysagiste et portraitiste anversois. En 1674, il gagne l’Angleterre et travaille avec sir Peter Lely. À Londres, l’influence de Van Dyck lui donne le goût de l’élégance et de la distinction dans les portraits d’apparat. En 1682, la mort de Lely (1680) et les persécutions contre les catholiques le décident à rentrer en France.
Soutenu par Van der Meulen et par Le Brun, Largillière est reçu en 1686 à l’Académie, où il présente comme morceau de réception le Portrait de Le Brun (musée du Louvre). Entre-temps, en 1685, Jacques II d’Angleterre l’appelle pour faire son portrait et celui de la reine. Ce sont les seuls personnages royaux qu’il peindra. Établi définitivement en France, Largillière devient peintre officiel de la Ville de Paris, et les échevins lui demandent à plusieurs reprises de commémorer les cérémonies et les grands événements de leur vie publique : 1687, banquet offert au roi ; 1697, mariage du duc de Bourgogne ; 1702, avènement du duc d’Anjou au trône d’Espagne ; 1722, mariage projeté de Louis XV avec l’infante d’Espagne. Un incendie de l’Hôtel de Ville, à la fin du xviiie s., a fait disparaître ces toiles, mais une œuvre similaire subsiste pour témoigner de leur importance : l’Ex-voto à sainte Geneviève (1694, église Saint-Étienne-du-Mont), qui présente le prévôt des marchands et les échevins en prière aux pieds de la patronne de Paris. Les esquisses du tableau relatif au banquet de 1687 (Ermitage, Leningrad ; Louvre ; musée d’Amiens) montrent, elles aussi, l’habileté de l’artiste à composer un portrait collectif qui serait digne de rivaliser avec ceux de Frans Hals.
De fait, Largillière est, avec Rigaud*, peintre de la cour, le plus grand portraitiste français de son temps. Ses modèles sont des magistrats (Jean Pupil de Craponne, musée de Grenoble), des artistes (Jean-Baptiste Forest — dont il épousa la fille —, musée de Lille), des acteurs (Mlle Duclos dans le rôle d’Ariane, Paris, Comédie-Française), des familiers, sans oublier le Peintre, sa femme et sa fille (Louvre). Un chef-d’œuvre domine cette production : la Belle Strasbourgeoise (1703, musée de Strasbourg). Une jeune femme, souriante et réservée, portant le magnifique costume strasbourgeois (dont le chapeau à cornes), nous regarde. Elle tient dans ses bras un « pyrame » noir et blanc, petit épagneul alors à la mode. Le luxe, fréquent chez Largillière (fleurs, draperies, etc.), est absent. C’est un portrait raffiné, mais sans excès, une œuvre qui fait le lien entre la « réalité » du xviie s. et la délicatesse d’un Jean-Baptiste Perronneau*, par exemple.
Quelques natures mortes, comme celle du musée de Dunkerque, comme les Perdrix de Grenoble et les Fruits d’Amiens, montrent Largillière sous un jour peu connu. Sa formation flamande reparaît alors dans la technique : souci du détail, présentation sur un fond d’architecture, lumière douce baignant les objets. Fleurs, fruits, animaux annoncent Chardin.
Par sa palette de coloriste, son style sensuel et brillant, Largillière prépare dès ses débuts l’art du xviiie s. Et le chant d’un Watteau, parfois, effleure chez lui telle échappée de paysage, tel visage touché de grâce.
B. A.
Larionov (Mikhaïl Fedorovitch) et Gontcharova (Natalia Sergueïevna)
Peintres d’origine russe du xxe s.
Dès les premières années du siècle, plusieurs créateurs de l’avant-garde russe se groupèrent autour du couple formé par Mikhaïl ou Michel Larionov (Tiraspol 1881 - Fontenay-aux-Roses 1964) et Natalia ou Nathalie Gontcharova (Toula, près de Moscou, 1881 - Paris 1962). À l’École de peinture, de sculpture et d’architecture de Moscou, Gontcharova suit pendant trois ans les cours de sculpture, et Larionov ceux de peinture. Tous deux passeront par plusieurs phases esthétiques : influence de l’impressionnisme, du cubisme*, du futurisme*, puis « néo-primitivisme » et enfin, en 1912, abstraction rayonniste.
Leur souci constant est de créer un mouvement d’inspiration purement russe, reflétant les multiples aspects de l’art populaire. Ils refusent d’emblée le réalisme narratif des « ambulants » ainsi que l’esthétisme raffiné du groupe Mir iskousstva (le Monde de l’art) ou les rêveries fugitives de la « Rose bleue », pour rendre à la peinture sa valeur propre. Le voyage de Larionov à Londres en 1906 lui fait découvrir Turner, dont l’influence est sensible dans une série de tableaux consacrés aux poissons. La rencontre, en 1907, des infatigables et impétueux frères David et Vladimir Bourliouk aboutit à l’organisation, à Moscou, d’une exposition (Stephanos) qui annonce un tournant décisif dans la création de l’avant-garde. Après l’été de 1909, Larionov et Gontcharova forment le mouvement néo-primitiviste, au sein duquel chaque artiste développe sa propre vision de la vie des petites gens. Gontcharova donne une ample fresque des labeurs saisonniers des paysans ou encore peint des icônes très colorées. Larionov, lui, préfère les sujets tirés des villes provinciales avec leurs cours boueuses aux palissades en bois, leurs élégants et élégantes grotesques, leurs femmes opulentes, les soldats béats, les graffiti sur les murs. À partir de 1907, Larionov et Gontcharova participent à de nombreuses expositions de groupe. En décembre 1910, ils sont, avec les Bourliouk, les organisateurs du « Valet de carreau », qui présentera un large panorama des artistes travaillant alors à la manière de Cézanne : Robert Falk, Piotr Kontchalovski, Aristarkh Lentoulov, Aleksandra Exter.
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