{"id":2438,"date":"2025-06-03T15:31:10","date_gmt":"2025-06-03T13:31:10","guid":{"rendered":"https:\/\/jclebrun.eu\/blog\/?p=2438"},"modified":"2025-06-04T14:57:23","modified_gmt":"2025-06-04T12:57:23","slug":"jean-rouaud-3","status":"publish","type":"post","link":"https:\/\/jclebrun.eu\/blog\/2025\/06\/03\/jean-rouaud-3\/","title":{"rendered":"Jean ROUAUD"},"content":{"rendered":"\n<h4 class=\"wp-block-heading alignfull has-text-align-center\"><strong>\u00ab\u00a0<em>Trois tableaux<\/em>\u00a0\u00bb de Jean Rouaud permet d\u2019appr\u00e9cier dans toute leur \u00e9tendue la sensibilit\u00e9 extr\u00eame, l\u2019\u00e9rudition, la qualit\u00e9 de r\u00e9flexion et <em>last but not least<\/em> la richesse d\u2019\u00e9criture de l\u2019\u00e9crivain prix Goncourt 1990. Tout cela, qui se retrouvait dans la quarantaine de livres qui ont suivi, jusqu\u2019\u00e0 \u00ab\u00a0<em>Com\u00e9die d\u2019automne<\/em>\u00a0\u00bb en 2023, et qui appara\u00eet aujourd\u2019hui comme ramass\u00e9 au fil de trois textes, dont la \u00a0diversit\u00e9 renvoie en fait \u00e0 une m\u00eame interrogation<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"213\" height=\"300\" src=\"https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/06\/JR-Trois-213x300.png\" alt=\"\" class=\"wp-image-2444\" srcset=\"https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/06\/JR-Trois-213x300.png 213w, https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/06\/JR-Trois.png 543w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Dans les deux premiers il est question de peinture, dans le troisi\u00e8me de cin\u00e9ma. A chaque fois des images, fixes ou anim\u00e9es, en ce premier quart de si\u00e8cle qui a d\u2019abord vu celles-ci supplanter le texte \u00e9crit avant d\u2019\u00eatre \u00e0 leur tour rel\u00e9gu\u00e9es \u00e0 l\u2019arri\u00e8re-plan par de nouveaux modes d\u2019intervention de plus en plus li\u00e9s \u00e0 l\u2019intelligence artificielle. Alors m\u00eame que notre temps pr\u00e9-apocalyptique -climat, \u00e9cologie, menace nucl\u00e9aire- \u00ab\u00a0<em>envisage une volte, la possibilit\u00e9 de repartir comme une pellicule en marche arri\u00e8re<\/em>.\u00a0\u00bb C\u2019est dans ce contexte que s\u2019inscrit Jean Rouaud, attentif depuis le tout d\u00e9but \u00e0 la cahoteuse marche du monde. Dans son r\u00e9cit d\u2019ouverture \u00ab\u00a0<strong><em>La v\u00e9rit\u00e9 sur Jef Rosman<\/em><\/strong>\u00a0\u00bb il s\u2019int\u00e9resse \u00e0 un tableau expos\u00e9 au mus\u00e9e Rimbaud de Charleville. L\u2019on y voit, sous le titre \u00ab\u00a0\u00e9pilogue \u00e0 la fran\u00e7aise\u00a0\u00bb, \u00ab\u00a0<em>l\u2019homme aux semelles de vent<\/em>\u00a0\u00bb alit\u00e9 dans une chambre bruxelloise, retour de l\u2019h\u00f4pital apr\u00e8s le coup de feu de Verlaine en juillet 1873. De lui on ne distingue en fait que le visage sur l\u2019oreiller, le drap est tir\u00e9 jusque sous le menton. Sur un paravent \u00e0 l\u2019arri\u00e8re figurent des indications relatives \u00e0 l\u2019identit\u00e9 du convalescent, \u00a0\u00e0 la localisation de la chambre, rue des Bouchers chez Madame Pincemaille marchande de tabac, et entre elles le nom du peintre, Jef Rosman, un amateur dont on ne conna\u00eet aucune autre production. De quoi susciter doutes et interrogations. Et surtout stimuler l\u2019imagination de Jean Rouaud, parti \u00e0 son tour sur la piste de l\u2019inconnu devenu c\u00e9l\u00e8bre Jef Rosman. Si l\u2019authenticit\u00e9 du tableau continue d\u2019intriguer, il avait rapidement disparu pour ne refaire surface qu\u2019en 1947, c\u2019est surtout l\u2019occasion pour l\u2019\u00e9crivain de se livrer \u00e0 un exercice dans lequel il n\u2019a pas son pareil\u00a0: avancer ses hypoth\u00e8ses et restituer en une repr\u00e9sentation panoramique d\u2019une stup\u00e9fiante pr\u00e9cision, sans jamais perdre sa malice ni son regard critique, l\u2019atmosph\u00e8re et les couleurs de l\u2019\u00e9poque qui vit surgir la \u00ab\u00a0<em>com\u00e8te de Charleville<\/em>. \u00bb\u00a0 Ce que Claudel d\u00e9signait comme \u00ab\u00a0<em>le bagne mat\u00e9rialiste<\/em>\u00a0\u00bb, qui suscita en r\u00e9action le formidable essor artistique que l\u2019on sait.<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<h4 class=\"wp-block-heading\"><strong>Il s\u2019agit pour Jean Rouaud de donner \u00e0 ressentir combien se percutent aujourd\u2019hui la forme et le fond<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Le r\u00e9cit suivant, \u00ab\u00a0<strong><em>Jongleur et chemineau<\/em><\/strong>\u00a0\u00bb, se r\u00e9f\u00e8re au tableau d\u2019un peintre inconnu dat\u00e9 de 1936. L\u2019on y d\u00e9couvre trois musiciens marchant la t\u00eate basse dans un triste paysage enneig\u00e9. Cette fois Jean Rouaud a opt\u00e9 pour le vers libre\u00a0: sur huit dizaines de pages il s\u2019agit en effet pour lui de donner \u00e0 ressentir combien se percutent aujourd\u2019hui la forme et le fond. Tandis que la musique n\u2019a sans doute jamais affich\u00e9 une telle omnipr\u00e9sence dans touts les instants de nos journ\u00e9es, quelque chose d\u2019elle para\u00eet s\u2019en \u00eatre all\u00e9. Au fil d\u2019un texte de vaste ambition, qui part d\u2019Ivan Bounine et Ossip Mandelstam, passe par la musique klezmer, par Matisse, Picasso et De Kooning, tangente Malaparte, fait appara\u00eetre \u00ab\u00a0<em>le trou noir du si\u00e8cle Auschwitz Treblinka Sobibor Chelmno<\/em>\u00a0\u00bb, s\u2019offre une longue halte dans une commune de Loire-Inf\u00e9rieure dans laquelle s\u2019enracine la litt\u00e9rature de Jean Rouaud, rend un discret hommage \u00e0 Claude Simon, s\u2019attarde au c\u00f4t\u00e9 de Malcolm Lowry, effectue un crochet par Troyes avec Chr\u00e9tien et Rachi, revient dans le pr\u00e9sent avec Bob Dylan (\u00ab\u00a0<em>Nous sommes constamment bombard\u00e9s \/ par une musique insultante et humiliante<\/em>\u00a0\u00bb), et s\u2019ach\u00e8ve sur les ravages d\u2019une \u00ab\u00a0<em>industrie bruitiste \/ pour couvrir le silence vertigineux \/ d\u2019un ciel d\u00e9sert\u00e9<\/em>\u00a0\u00bb, l\u2019\u00e9crivain dit combien les trois musiciens avan\u00e7ant dans une ambiance ouat\u00e9e sous un horizon plomb\u00e9, figurent l\u2019un des paradoxes constitutifs de l\u2019\u00e9poque\u00a0: le vacarme musical qui \u00e9crase tous les autres bruits, y compris ceux de la nature, et finalement rend sourd.<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<h4 class=\"wp-block-heading\"><strong>L\u2019image cin\u00e9matographique semble d\u00e9sormais faire du surplace<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Ce parcours narratif s\u2019ach\u00e8ve, avec \u00ab\u00a0<strong><em>Tourner, se retourner<\/em><\/strong>\u00a0\u00bb, sur les images de \u00ab\u00a0<strong><em>Le mal n\u2019existe pas<\/em><\/strong>\u00a0\u00bb (2023), le film en forme de cri d\u2019alerte du Japonais Ryusuke Hamaguchi . Une fable \u00e9cologique que Jean Rouaud met en regard du sublime \u00ab\u00a0<strong><em>Dersou Ouzala<\/em><\/strong>\u00a0\u00bb (1975) d\u2019Akira Kurosawa. Moins pour en opposer les projets respectifs, m\u00eame si l\u2019acceptation de la loi de nature \u00a0par le vieux chasseur sib\u00e9rien se situe aux antipodes de l\u2019actuel manque de respect envers le monde naturel repr\u00e9sent\u00e9 dans le film d\u2019Hamaguchi. Mais bien davantage pour pointer un changement radical qui en un demi-si\u00e8cle s\u2019est op\u00e9r\u00e9 entre les deux\u00a0: l\u2019image cin\u00e9matographique semble d\u00e9sormais faire du surplace, ne plus pouvoir proposer d\u2019horizons nouveaux, tel ce cerf du d\u00e9but qu\u2019on retrouve \u00e0 l\u2019identique \u00e0 la fin du film. C\u2019est en tout cas le sens de la r\u00e9flexion de Jean Rouaud sur la capacit\u00e9 de repr\u00e9sentation de l\u2019art \u00ab\u00a0traditionnel\u00a0\u00bb &#8211; peinture, musique, cin\u00e9ma- dans un univers domin\u00e9 par de nouveaux modes d\u2019intervention. A n\u2019en pas douter ces \u00ab\u00a0<strong><em>Trois tableaux<\/em><\/strong>\u00a0\u00bb, par leur profondeur et leur virtuosit\u00e9, s\u2019inscrivent au tout premier rang des pages les plus inspir\u00e9es de l\u2019\u0153uvre de Jean Rouaud.<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">\u00ab&nbsp;<strong><em>Trois tableaux<\/em><\/strong>&nbsp;\u00bb de Jean Rouaud, Editions Gallimard, 156 pages, 18 \u20ac<\/h5>\n\n\n\n<h5 class=\"wp-block-heading\">05\/06\/2025 \u2013 1746 \u2013 W126<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>\u00ab\u00a0Trois tableaux\u00a0\u00bb de Jean Rouaud permet d\u2019appr\u00e9cier dans toute leur \u00e9tendue la sensibilit\u00e9 extr\u00eame, l\u2019\u00e9rudition, la qualit\u00e9 de r\u00e9flexion et last but not least la richesse d\u2019\u00e9criture de l\u2019\u00e9crivain prix Goncourt 1990. Tout cela, qui se retrouvait dans la quarantaine de livres qui ont suivi, jusqu\u2019\u00e0 \u00ab\u00a0Com\u00e9die d\u2019automne\u00a0\u00bb en 2023, et qui appara\u00eet aujourd\u2019hui comme [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","footnotes":""},"categories":[1],"tags":[89],"class_list":["post-2438","post","type-post","status-publish","format-standard","hentry","category-non-classe","tag-une-grande-narration-et-une-grande-reflexion-sur-lart-et-ses-defis-contemporains"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jean ROUAUD - Blog de Jean-Claude Lebrun<\/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:\/\/jclebrun.eu\/blog\/2025\/06\/03\/jean-rouaud-3\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jean ROUAUD - Blog de Jean-Claude Lebrun\" \/>\n<meta property=\"og:description\" content=\"\u00ab\u00a0Trois tableaux\u00a0\u00bb de Jean Rouaud permet d\u2019appr\u00e9cier dans toute leur \u00e9tendue la sensibilit\u00e9 extr\u00eame, l\u2019\u00e9rudition, la qualit\u00e9 de r\u00e9flexion et last but not least la richesse d\u2019\u00e9criture de l\u2019\u00e9crivain prix Goncourt 1990. 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