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L} a Dans le contexte de ce crepuscule de Ia ligen de du corps fiminin, le cas de Gauguin est significatif: le ~vpe exotique des jeunes filles tahitiennes apparait dans ses nus comme une rehabilitation de Ia nature en tant que s~vle. 'emancipation qu'apportait Gauguin pour qui la " barbaric etait un rajeunissement "· lui qui disait s'etre renue bien au-deli des chevaux du Parthenon, jusqu'au dada de son enfance? Je vais repondre ici par quelque chose de tout i fait a cote, qui n'a rien a voir avec le renouvellement des techniques picturales, mais tout de meme avec le " dada de l'enfance n: la sCrCnitC animale du type exotique de ses jeunes Tahitiennes marque une nouvelle rupture avec un element important de Ia vision traditionnelle de Ia " belle nudite , : a savoir l'auto-exhibitionnisme de la femme, inhCrent au Nu traditionnel.

Ambiance, com me le fera Ia peinture de plein air, mais elle a plut6t pour effet de reveler Ia nudite com me quelque chose de secret dans l'ouvert du paysage - nu couche sur Ia berge, au bord de Ia mer- ou so us d' epaisses et obscures frondaisons, au-desstlS de l'onde. Une nudite feminine dans un espace clos - dans une chambre - de Delacroix, pour autam qu' emerge de I'obscure intimite de sa chambre I' eveil de son animalite so us les prestiges de son corps, apparait sur le tableau comme un dehors capte audedans de Ia femme rneme.

De meme que l'homme - note Klee - , le tableau lui aussi a un squelette, des muscles, une peau. On peut parler d'une anatomic particulii:re du tableau. Un tableau ayant pour sujet (( un homme nu)) n'est pas a figurer selon l'anatomie humaine, mais selon celle du tableau. On commence i construire une charpente pour Ia peinture a batir. Jusqu'i quel degre s'en ecarter, voila qui est facultatif: des Ia charpente se peut exercer un effet pictural plus profond qu'a partir de Ia seule surface. ) Le cas si particulier de Klee, contemporain.

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