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La Captivité des Juifs à Babylone, de Morot, pourrait une scène de la Salammb? de Flaubert, et le Joseph gardien des greniers de Pharaon d'Alma-Tadema LeRoman de la momie de Gautier. Quant à Esther [link widoczny dla zalogowanych] se parant [link widoczny dla zalogowanych] pour être présentée au roi Assuérus, de Chassériau, son immense mérite est d' à la vue les plus beaux seins de l'histoire de la peinture - et la religion supposée de la dame n'a aucune importance.
"Les Juifs et l'orientalisme", Musée d'art et d'histoire du juda?sme, 71, rue du Temple, Paris 3e. Tél. : 01-53-01-86-60. Du dimanche au vendredi de 10 heures à 18 heures, le mercredi jusqu'à 21 heures. Entrée : 9,50 ?. Jusqu'au 8 juillet.
Il n'est plus question d'exotisme charmeur, mais de peinture à programme où l'allusion au talith (ch?le de prière) sur la tête du prophète Jérémie dans une toile de Lehmann a du sens, de même que l'oecuménisme des scènes bibliques de , né en Galicie. [link widoczny dla zalogowanych] La Jérusalem de de 1896, son Jérémie, son Joseph et les Ismaélites comptent dans l'histoire du sionisme et de l'antisémitisme, car ces toiles [link widoczny dla zalogowanych] furent pour certaines perdues ou détruites pendant la seconde guerre [link widoczny dla zalogowanych] mondiale. Pour les , le contexte intellectuel et historique est nécessaire, non moins que le décryptage de détails dont la fonction est symbolique.

Tout cela est peu connu et captivant. Mais est-il judicieux de présenter ces artistes après des oeuvres d'une inspiration tout extérieure à ces questions - et avant une salle finale consacrée aux peintres venus en [link widoczny dla zalogowanych] dans l'entre-deux-guerres ? Trois sujets en une seule exposition et sous un qui induit en erreur et attire l'attention sur sa part la plus prévisible : il y a là de quoi quelques regrets. Les deux derniers sujets mériteraient d'être repris et développés à la mesure de leur intérêt.
Puis l'exposition change de sujet. Il n'y est plus question d'orientalisme mais de la représentation du peuple et de l'histoire juive par des artistes juifs dont la préoccupation est ou religieuse. Le point de départ n'est plus Delacroix mais le Berlinois Eduard Bendemann. Sur les rives des fleuves de Babylone, de 1832, évoque sur le mode allégorique les relations du et du christianisme, Bendemann [link widoczny dla zalogowanych] étant lui-même issu d'une juive, mais baptisé.
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au , Eugène Delacroix commence l'une de ses oeuvres les plus célèbres, Noce juive au Maroc, achevée en 1 841. Trop vaste, trop aimée des visiteurs du Louvre, [link widoczny dla zalogowanych] elle ne l'a pas quitté pour être placée en ouverture de l'exposition "Les Juifs dans l'orientalisme". Si compréhensible soit cette absence, elle gêne. Quelques études dessinées pendant ou après la cérémonie à laquelle le peintre assista à Tanger le 21 février 1832 ne peuvent se à elle. Par ses vastes dimensions, sa composition singulière autour d'un vide central et selon une perspective ascendante et [link widoczny dla zalogowanych] ses figures abondamment détaillées, elle créa la surprise et une .
C'est cette mode qui fait l'objet des deux tiers de [link widoczny dla zalogowanych] l'exposition. Théodore Chassériau se rend en en 1 846. Alfred Dehodencq au Maroc en 1 853 et se risque plus tard, en 1870, à sa propre version de la noce juive. Landelle, Lecomte du Nouy, Gentz et d'autres alimentent l'engouement pour les sujets "juifs", qui apparaissent comme des exercices orientalistes parmi d'autres. Qu'il s'agisse de scènes qui auraient été vues ou d'épisodes bibliques, les conventions académiques règnent sur ces comme sur celles dont [link widoczny dla zalogowanych] les mêmes artistes prennent les motifs à l'histoire égyptienne, [link widoczny dla zalogowanych] grecque, romaine ou musulmane.
Les titres des oeuvres font référence à l'histoire juive, mais les tableaux ne montrent nullement les éléments d'une iconographie spécifique qui pourrait être suspectée d'antisémitisme. Si l'on songe à [link widoczny dla zalogowanych] certaines figures grotesques ou haineuses du juif dans la peinture ancienne, il [link widoczny dla zalogowanych] semble clair qu'elles n'ont plus cours au XIXe siècle, dans les salons de peinture. Si Moreau avait décidé de Médée l'héro?ne qu'il appelle Salomé, l'oeuvre n'aurait aucune raison de ici. Jusqu'à ce point [link widoczny dla zalogowanych] du parcours, le principal enseignement est cette absence.
Symbolique