#Frantz Émile

[thedeadleafs]

Émile Gallé, Ornamental Tray (detail) c. 1878

Pottery, decoration over glazing. 58 cm in diameter. Musée d'Orsay, Paris.

"Gallé tested the spirit of Japan in his pottery work, as well as all its other capabilities, before going beyond it in the imcomparable quality of his glasses. 'It was from the Japanese art that he drew the general system, the fundamental principles of his style; we shouldn't however think that he imitates that mold in a servile way. There's nothing more different from the Japanese art than Galle's work… He simply adopts the style concept of the Japanese as his own, and then works it using his taste and his knowledge.' (Henri Frantz.)"

Scanned and quoted from the book "Art Nouveau" by Gabriele Fahr-Becker.

[libramonthlyhoroscope1]

What is fauvism

Fauvism, style of painting that flourished in France around the turn of the 20th century. Fauve artists used pure, brilliant colour aggressively applied straight from the paint tubes to create a sense of an explosion on the canvas.

What is fauvism

The Fauves painted directly from nature, as the Impressionists had before them, but Fauvist works were invested with a strong expressive reaction to the subjects portrayed. First formally exhibited in Paris in 1905, Fauvist paintings shocked visitors to the annual Salon d’Automne; one of these visitors was the critic Louis Vauxcelles, who, because of the violence of their works, dubbed the painters fauves (“wild beasts”).

The leader of the group was Henri Matisse, who had arrived at the Fauve style after experimenting with the various Post-Impressionist approaches of Paul Gauguin, Vincent van Gogh, and Georges Seurat. Matisse’s studies led him to reject traditional renderings of three-dimensional space and to seek instead a new picture space defined by movement of colour. He exhibited his famous Woman with the Hat (1905) at the 1905 exhibition. In this painting, brisk strokes of colour—blues, greens, and reds—form an energetic, expressive view of the woman. The crude paint application, which left areas of raw canvas exposed, was appalling to viewers at the time.

The other major Fauvists were André Derain, who had attended school with Matisse in 1898–99, and Maurice de Vlaminck, who was Derain’s friend. They shared Matisse’s interest in the expressive function of colour in painting, and they first exhibited together in 1905. Derain’s Fauvist paintings translate every tone of a landscape into pure colour, which he applied with short, forceful brushstrokes. The agitated swirls of intense colour in Vlaminck’s works are indebted to the expressive power of van Gogh.Three young painters from Le Havre, France, were also influenced by Matisse’s bold and vibrant work. Othon Friesz found the emotional connotations of the bright Fauve colours a relief from the mediocre Impressionism he had practiced; Raoul Dufy developed a carefree ornamental version of the bold style; and Georges Braque created a definite sense of rhythm and structure out of small spots of colour, foreshadowing his development of Cubism. Albert Marquet, Matisse’s fellow student at the École des Beaux-Arts in the 1890s, also participated in Fauvism, as did the Dutchman Kees van Dongen, who applied the style to depictions of fashionable Parisian society. Other painters associated with the Fauves were Georges Rouault, Henri Manguin, Charles Camoin, and Jean Puy.

For most of these artists, Fauvism was a transitional, learning stage. By 1908 a revived interest in Paul Cézanne’s vision of the order and structure of nature had led many of them to reject the turbulent emotionalism of Fauvism in favour of the logic of Cubism. Matisse alone pursued the course he had pioneered, achieving a sophisticated balance between his own emotions and the world he painted.

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The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by Alicja Zelazko.

Salon d’Automne

The Salon d’Automne was established as an alternative to the conservative official Salon. It was also an alternative to the Salon des Indépendants, which was liberal but had a juryless policy that often led to mediocrity. The founders of the Salon d’Automne were a group of artists and poets that included Eugène Carrière, Pierre-Auguste Renoir, Georges Rouault, Édouard Vuillard, Joris-Karl Huysmans, and Émile Verhaeren, under the leadership of the architect Frantz Jourdain. They decided to form their own organization with the aims of welcoming any artist who wished to join, selecting a jury for exhibitions by drawing straws from the new group’s membership, and giving the decorative arts the same respect accorded the fine arts.

The first Salon d’Automne was held on October 31, 1903, at the Petit-Palais. The organizers chose autumn as the time of year for their shows because most other exhibits in Paris took place in the spring and summer. The venue was a significant force in the development of modern art in Europe. Early salons included retrospective exhibits of Post-Impressionist painters Paul Gauguin (1903 and 1906) and Paul Cézanne (1907); these shows helped establish their respective reputations and also proved to be events that influenced the careers of many artists. The best-known exhibit was that of 1905, when the painter Henri Matisse and his colleagues were dubbed Fauves (“Wild Beasts”) because of their uninhibited use of pure, nonnaturalistic colours.

[haitilegends]

Joyeux Anniversaire à Frantz Émile, Bassiste, Compositeur.

Mizik Mizik

Lov

Mizik Mizik.

MEPRIS (F. Emile, E. Renaud, F. Rouzier, M. B. Jacquet)

WÉBÈ (F. Emile, E. Charles, E. Obas, F. Rouzier)

KI MOUNE OU YE (E. Charles, E. Obas, A. Michel, F. Emile)

MEN KRAB LA (F. Emile, E. Charles, F. Rouzier)

Lov

Lavi (F. Émile)

#FrantzÉmile

#MizikMizik

#Lov

#HugoValcin

#HaitiLegends

[sorytoc-residence]

Es folgen meine in diesem Jahr gelesenen Bücher, meine meistgehörten Alben und geschauten Filme und Serien. Die Aufzählung richtet sich danach, wie gut mir diese gefallen und wie sehr sie mich berührt haben.

Gelesene Bücher 2020

L.P. Hartley - The Go-Between

J. R. R. Tolkien - The Fellowship of the Ring                          - The Two Towers                          - The Return of the King

Jaroslav Hašek - Der gute Soldat Švejk im Weltkrieg

Sylvia Warner Townsend - Lolly Willowes

Brix Smith Start - The Rise, The Fall and The Rise

Thomas Brasch - Der Mädchenmörder Brunke

Daphne du Maurier - Rebecca (+ The Happy Valley)

Vladislav Vančura - Felder und Schlachtfelder

Toni Morrison - Beloved

Mely Kiyak - Frausein

Anna Kavan - Ice

Shirley Jackson - Life Among the Savages

Frank Herbert - Dune

Tarjei Vesaas - The Ice Palace

J.K. Huysmans - Gegen den Strich

Heinrich Mann - Der Untertan

Evelyn Waugh - Brideshead Revisited

Christ Frantz - Remain in Love

Jeanette Winterson - The Passion (+ Sexing the Cherry, The Daylight Gate)

Kate Chopin - The Awakening

Virginia Woolf - Mrs. Dalloway 

Karen Blixen - Babette’s Feast

Susan Hill - The Woman in Black

Donna Tartt - Secret History

Ursula Priess - Sturz durch alle Spiegel

Arthur Machen - The Great God Pan

John Fowles - The Collector

Matt Ruff - Set this House in Order

Luke Haines - Britpop and My Part in Its Downfall

Raymond Chandler - The Big Sleep

Alan Hollinghurst - The Stranger’s Child

John Wyndham - Chocky

Émile Zola - Thérèse Raquin

Gehörte Alben 2020

Lou Reed - Berlin

Talking Heads - Remain in Light

Stephen Malkmus - Stephen Malkmus

Suicide - Suicide

Magnetic Fields - 69 Love Songs 

The House of Love - The House of Love

Blur - 13

Scars - Author! Author!

Magazine - The Correct Use of Soap

Pinback - Summer in Abaddon

Max’s Kansas City : 1976 and Beyond

Island Records Post Punk Box Set: Out Come the Freaks

Deltron 3030 - Deltron 3030

The King of Luxembourg - Sir Royal Bastard

Kinks - Arthur (Or the Decline and Fall of the British Empire)

Silver Jews - The Natural Bridge

The Only Ones - The Only Ones

The Flaming Lips - Clouds Taste Metallic

The Auteurs - After Murder Park

Greg Sage - Sacrifice (For Love)

Gesehene Filme

A Bigger Splash

Never Rarely Sometimes Always

The Booksellers

Suzi Q

No Distance Left to Run

Upside Down Story of Creation

Portrait einer jungen Frau in Flammen

Mathias & Maxime

Playtime

Escape from Tomorrow

Prinzessinnenbad

Tim Rollins and the KoS

Tenet

Paris is Burning

Always Amber

Futur 3

Caché

Hard Candy

I’m thinking of ending things

Gunda

A Straight Story

Death Becomes Her

White Riot 

First Cow

High Ground

Über die Unendlichkeit

The Babadook

Slenderman

The Love Witch

Scary Stories to Tell in The Dark

Mother!

Ouvertures

Fateful Findings

Gesehene Serien

Twilight Zone

Broadchurch

Utopia (2013)

Skins 

She-RA

Chilling Adventures of Sabrina

Dracula (2020)

Final Space 

Killing Eve (S3)

Crashing

Anne With an E

The End of the Fucking World

The Queens Gambit

[beautifulcentury]

1 - Charles van der Stappen, Le Sphinx Mystérieux, 1897. Ivory, bronze. 56 x 46 x 31 cm. Musée Royaux d'Art et d'Histoire, Bruxels.

"Van der Stappen worked on his ivory and metal sculptures as works of complete perfection. The bust here represented gathers all the characteristics of Belgian art of the fin-de-siècle and constitutes the origin of its Art Nouveau school. The sphinx is the image incarnated of literary symbolism, and ivory accentuates its mysterious aura."

Scanned and quoted from the book "Art Nouveau" by Gabriele Fahr-Becker.

2 - François-Raoul Larche, Loie Fuller, table lamp, 1901. Golden bronze.

3 - Émile Gallé, Ornamental Tray (detail) c. 1878. Pottery, decoration over glazing. 58 cm in diameter. Musée d'Orsay, Paris.

"Gallé tested the spirit of Japan in his pottery work, as well as all its other capabilities, before going beyond it in the imcomparable quality of his glasses. 'It was from the Japanese art that he drew the general system, the fundamental principles of his style; we shouldn't however think that he imitates that mold in a servile way. There's nothing more different from the Japanese art than Galle's work... He simply adopts the style concept of the Japanese as his own, and then works it using his taste and his knowledge.' (Henri Frantz.)"

Scanned and quoted from the book "Art Nouveau" by Gabriele Fahr-Becker.

[syrduav]

My 15 favorite books

I made a Top 15 of my favorite books and explained why. They are listed as they came to my mind.

1. Dancing on our Turtle's Back (Leanne Simpson, 2011)

With this book, Leanne Simpson shows a path towards an Indigenous resurgence. She does it by exploring the philosophical thoughts and sociopolitical theories of her people, for instance, through the study of the etymology and epistemology behind words, intergenerational meanings associated with Creation stories and systems of governance such as breastfeeding as a treaty, that I quoted in my earlier post Allaiter, un acte de résurgence. This book got me into thinking about how can we (e.g. Les Québécois) resurge? How are we infected by colonialism? How do we clean ourselves from it? How do we update and live our ancestors’ ways of seeing and being in the world? This is the reason why I started to focus more on my positionality and on my own family story. It’s something I’ve been reflecting on after reading the impacting article Decolonization is not a metaphor and Vine Deloria Jr’s Custer Died for your Sins.

2. A People's History of the United States [Une Histoire Populaire des États-Unis] (Howard Zinn, 1980)

Take a look at this video, and you’ll get why it came right away. It’s inspiring as it exposes the development of settler colonialism and imperialism in the US. 

I simultaneously read Zinn’s short autobiography You Can't Be Neutral on a Moving Train: A Personal History of Our Times. He is such an inspiration for me as a person, as an engaged researcher, an organic professor, and a militant.

3. Les Damnés de la Terre [The Wretched of the Earth, Los condenados de la tierra] (Frantz Fanon, 1961)

I highly recommend this book to activists and engaged researchers. He’s the heart of national liberation or decolonizing thinking. Frantz Fanon is a psychiatrist from Martinique who participated in the National Liberation Front of Algeria at the of the 1950′s. He died from Leukemia in 1961. He left a great legacy as an analyst of the pervasive grips of colonialism on our minds and of its traps as it intertwines with nationalism (fabricated by the national bourgeoisie). He also exposes results from his work with patients who’s colonial violence experiences are reflected in their tensed and muscular dreams. If there is something i always recall from that book, is that according to Fanon, you see people’s decolonization as they recreate themselves, through arts for instance. I see it as the beginning of the resurgence process. Like me, Fanon was very skeptical of the uses of history in national liberation processes.

4. Settler Sovereignty (Lisa Ford, 2010)

Comparing “settler colonialism” in Georgia and New South Wales, Lisa Ford reflects on how settlers (I would also say colonizers) consolidate their sovereignty on the Indigenous lands and peoples through state building. It’s close to what I have been researching in Uruguay by putting together colonialism, capitalism, and nationalism.

5. Red Skin, White Mask (Glenn Coulthard, 2014)

I have to say I was first attracted by the title but was rapidly aligned with Coulthard. In his work, he focuses on colonialism and capitalism as interdependent socioeconomic phenomenon. He also takes a look at the “Identity Politics” in Canada by exploring the relationships between his people, the Diné, and the government of Canada.

6. Peau noire, masque blanc [Black Skin White Masks, Piel negra, máscara blanca] (Frantz Fanon, 1952)

Here Fanon explores how colonial thought influences relationships, intimacy and interbreeding among people who’s gender and skin color vary. He takes his own experiences in Martinique as a sample, then in France as he was studying to become a psychiatrist. He suddenly realized how Black people were “surdéterminés de l’extérieur” (”overdetermination from the outside”).

7. The Autobiography of Malcolm X [L'autobiographie de Malcolm X] (1992)

Malcolm X or Malek El-Shabazz deeply impacted the Black Power Movement with its incisive critiques of US colonialism, racism, and imperialism. He made me conscious of the importance to be open-minded and humble so to change my perspectives and ways of being since it is necessary for becoming “righteous” or coherent with our vision of the world. I like X because he not only puts emphasis on decolonization as a public struggle but also as an inner collective and personal process.

8. Thérèse Raquin (Émile Zola, 1867)

It’s funny how we sometimes refuse to do something because we “have to”, no? We’ll I’m a bit like that. I had to read this book in College (Cégep) in a Literature class, but only read it completely years later. Zola impulses naturalism as a literary movement. He not only shows how the ambiance is or feels like but also how people’s mind is distorted and what they are willing to do for freedom and love. I can re-read this book on and on.

9. The Dispossessed [Les Dépossédés, Los desposeídos] (Ursula K. Le Guin, 1974)

I was introduced to Le Guin at the ls Librairie l’Insoumise, an anarchist bookstore on Saint-Laurent in Montréal. I was looking for a political science fiction book. In The Dispossessed, she shows us what an anarchist setting could look like and she sometimes highlights it through its interaction with a capitalist one. She’ll make you dream and think of “decolonial love”, relationships and knowledge. This is the kind of book that impacts your political walk of life, how you will, later on, deal with decision making and relationships.

10. The Caves of Steel [Les Cavernes d'acier, Las bóvedas de acero] (Isaac Asimov, 1954)

Asimov and his série Foundation is about human relationships with robots. The Caves of Steel is about the necessary filiation of a human from the earth and a robot detective to investigate the murder of a detective on a planet where professionals once got to migrate in order to save their lives. I like this book because he made me think of our relationships with technological developments and to go beyond appearance.

11. Caliban and the Witch: Women, the Body and Primitive Accumulation (Silvia Federici, 2004)

I met Silvia Federici at the 2017 Anarchist Bookfair in Montréal. It was love at first sight. But I first got to know her through a Charrua friend who dug the relationships of Indigenous women and colonialism. Federici explores how capitalism separated men and women as a subaltern unit and dispossessed women from their political power in order to commodify land and work. To do this, she investigates witch hunting in Europe. It was quite relevant to me as most Charrua women I met during my fieldwork were descendants of midwives and healers... and I descend from voodoo and tarot practitioners. Her work associates well with the Indigenous feminism movement and its stance on colonial traditionalism.

12. Wasáse. Indigenous Pathways of Action and Freedom (Taiaiake Alfred, 2005)

Alfred introduced me with Peace, Power, and Righteousness to the Indigenous resurgence movement and how to contribute as an “organic intellectual” to remove consent to the system that oppresses us. I like Wasáse, the warrior’s dance because it offers us a path to a resurgence that works through cleaning our inner self, reconsolidating relationships within our collective and confronting oppressive external powers according to our own philosophical principles and as a political unity. It’s quite similar to what Malcolm X was advocating for. Alfred does so by exploring individuals’ path to resurgence and the possibilities of being autonomous towards colonial powers.

13. Los dones étnicos de la Nación (Diego Escolar, 2007)

This one can to my mind because Escolar shows how settler colonialism and nationalism affect our settler and Indigenous minds in seeing and living an Indigenous present.Escolar does so by exposing Indigenous oral histories and settler colonial archives in the light of the return of supposed Indigenous extinct groups in Argentina.

14. Roots of Resistance. A history of Land Tenure in New Mexico (Roxanne Dunbar-Ortiz, 1980)

This is a brilliant book if you want to know the history of the south of the United States, you know where Trump is building his fence. Dunbar-Ortiz looks at an Indigenous territory that has been colonized by multiple interests and empires through time and how its Indigenous peoples were used to protect foreign sovereignties, but also how they resisted to colonialism.

15. Little Red Book, Petit livre rouge, Libro Rojo] (Mao Tsedong, 1964)

I think Mao ended up here because I had the Black Panthers Party in mind. I’m not a Maoist, but I am curious. This book, along with The Wretched of the Earth, put up the table for national liberation movements in the 1960′s by advocating for an armed and cultural revolution. The 1960′s are the golden era of activism.

[osobypostacieludzie]

Francis Jourdain - był malarzem, producentem mebli, projektantem wnętrz, twórcą ceramiki i innych sztuk dekoracyjnych oraz lewicowym działaczem politycznym. Francis Jourdain urodził się 2 listopada 1876 r., Syn architekta Frantz Jourdain. Jego ojciec był założycielem kolekcji Salon d'Automne. Korzystał z relacji swoich rodziców ze słynnymi intelektualistami epoki (Émile Zola, Alphonse Daudet) i artystami (krąg Alexandre'a Charpentiera). Jourdain powiedział o społeczeństwie, w którym dorastał, że jest zdominowany przez ludzi którzy byli mocno opioniści i szybko stawali po stronie. Chociaż jego członkowie udawali, że są zwolennikami wolności i współczucia, postrzegał go jako skażony uprzedzeniami, ksenofobią i skrajnymi emocjami. Jego ojciec był bardzo typowy dla tego społeczeństwa. Jourdain został malarzem i był pionierem stylu Art Nouveau, w którym został wyróżniony jako dekorator Villa Majorelle w Nancy. Wzorcowy panel Jourdain z eleganckimi, czysto sylwetkowymi obrazami został pokazany w 1900 roku Exposition Universelle w Paryżu. W 1911 roku Jourdain zaczął projektować meble zgodnie z naukami Adolfa Loosa (1847-1933). Otworzył Les Ateliers Modernes w 1912 roku, małą fabrykę mebli. Zaprojektował modułowe drewniane meble dla ludzi klasy robotniczej, reklamy w socjalistycznej gazecie L'Humanité. Dzięki wbudowanym meblom i systemom przechowywania był w stanie sprawić, że małe powierzchnie wydają się przestronne. Był właścicielem sklepu meblowego w 1919 roku, Chez Francis Jourdain. Jourdain był regularnym wystawcą w latach 1913-28 w Salon d'Automne i Societé des Artistes Décorateurs. Jourdain opublikował wiele artykułów na temat sztuki współczesnej i estetyki, w których zaatakował ostentacyjny luksus typowy dla współczesnego francuskiego designu. Jego własne projekty były proste, z prostą konstrukcją. W 1920 r. współpracował z Le Corbusierem, publikując czasopismo L'esprit nouveau, dofinansowane przez rząd. Opowiadał się za standaryzacją i produkcją przemysłową jako alternatywą dla indywidualnego projektu, wymaganego do odbudowy rozbitego społeczeństwa i gospodarki francuskiej w latach po I wojnie światowej (1914-18). Na Międzynarodowej Wystawie Nowoczesnych Sztuk Przemysłowych i Dekoracyjnych w 1925 roku "Journain's Physical Culture Room" Jourdaina, w odróżnieniu od innych eksponatów, nie podkreślał luksusowego życia. Jego konstrukcja wykorzystywała gładką boazerię na ścianach i sufitach, które przypominały nitowane arkusze metalu. Pracował z Robertem Mallet-Stevens (1886-1945) w latach 1925-1930. Wnętrze zaprojektowane dla intelektualisty zostało wystawione w 1937 roku na wystawie Internationale des Arts et Techniques dans la Vie Moderne w Paryżu. Począwszy od lat 30. XX wieku Jourdain zaangażował się w politykę i ostatecznie przyłączył się do Francuskiej Partii Komunistycznej. W 1939 był Sekretarzem Generalnym Światowego Komitetu Przeciwko Wojnie i Faszyzmowi. Papier firmowy komitetu pokazywał Henri Barbusse jako założyciela i Romaina Rollanda na cześć Honorowego Prezydenta. W skład rady weszli: Paul Langevin, Jean Longuet i André Malraux z Francji, Sir Norman Angell z Anglii, Heinrich Mann z Niemiec, Harry F. Ward, Sherwood Anderson i John dos Passos ze Stanów Zjednoczonych oraz A. A. MacLeod z Kanady. Francis Jourdain zaprosił profesora J. B. S. Haldane'a na wielką międzynarodową konferencję w sprawie Pokoju Pokoju i Ludzkości, która miała odbyć się w Paryżu w dniach 13-14 maja 1939 r. Haldane wyraził swoje poparcie, ale odrzucił zaproszenie. Jourdain był płodnym pisarzem sztuki w okresie po II wojnie światowej (1939-45). Pod koniec życia Jourdain był prezesem Secours populaire français. Umarł w Paryżu 31 grudnia 1958 r. w wieku 82 lat.