#Mosse Palais

[out-of-body-xperience]

John Galliano fw 1995

[shadesofcool3333]

shades of cool

[vogues1ut]

The Starlite Dress by Mirror Palais

[evaskittens]

nothing is as sweet as silence

[daybreakrising]

@apocryphis: the chief justice, as is well known in the walls of palais mermonia, only ever takes one day off a year, on the occasion of his birthday. since lady furina had stepped down from archonhood, however, he had surprised his staff by taking another day or two, without any particular event seemingly prompting it. some had heard of the iudex venturing to liyue for the lantern rite festival and expected it must have been a diplomatic visit... for today, however, they are entirely at loss.

it does not matter to neuvillette, considering the only person in the palais who needs to know where he has ventured to, is presently with him.

"i do hope you will forgive me for whisking you away on your birthday." he says, perfectly aware that vautrin has already forgiven him, if he had even blamed him in the first place. "but i thought we might deserve some time away from the palais and its incessant chatter... as well as its prying eyes." and where better to bring him, than one of the few places in teyvat where the two of them are allowed to exist as the aberrations that they are in the eyes of the heavens?

for some time now, they have been swimming in the waters of fontaine; and neuvillette leads his companion upwards a stream where the water changes to take on the distinct shimmer of erinnyes. they swim further, through sinuous underwater tunnels, narrow and dark save for the faint blue glow of the sovereign's essence pulsing from within; and finally, pierce the surface, not outside, but in an underwater cave.

it is a place the dragon has not visited in many centuries. it is all stone, damp with humidity, stalactites decorating its ceiling like accidental ornaments; the walls and ground covered in deep green moss and algae like a plush carpet for any sea creature who would find refuge here. he had been such a creature once. neuvillette turns as he steps into the space, a smile gracing his lips as he holds out his hand for vautrin to take. "this is where i once lived, before furina summoned me to the court of fontaine." while it does look like no human ever set foot here, it would not be difficult for vautrin to observe that something, a creature at the very least, one endowed with cognizance and intelligence, must have stayed here before. neuvillette is a little amazed himself that signs of his presence remain. old tools he had once used to craft makeshift furniture, so loosely fashioned after the old dragons' halls beneath the sea the resemblance is barely perceptible; the furniture in question, of which only an ancient, wood-rotten table and a chest remain; and a few items that clearly had come from outside, treasures collected on the occasion he would leave and swim, other crafted by his own hand as way of decoration. how such items survived the test of time, he is not sure (but suspects pahsiv may have had something to do with it). but he is glad that they did. they can, at the very least, be an amusing testimony to history for vautrin to bear witness to.

two vishaps, who had been laying there, sleeping, shake out of them slumber and, with a rolling grumble akin to a wave unfurling on shore, slip away into the waters, leaving their sovereign and his oceanid companion space.

from the folds of his vest, neuvillette pulls a small wooden box, no bigger than his palm, carefully engraved not with the iudex's seal but with a much more personal signature (the sigil of the hydro dragon himself, a constellation no one but him had devised). "i thought today would be the appropriate occasion to gift you a new one to replace the old. or accompany it, at your preference." inside the box, vautrin will find another hand-crafted medal - this one shaped in the form of something that could equally be an oceanid's fin or his own. the lack of differentiation between the two had been entirely intentional. one and the same - entangled until he no longer would wish them to be. "i do not know that i can ever let go of my regrets for my decisions 400 years ago, but..." neuvillette's voice trails as he carefully pins the medal in place, draconic eyes glowing with all their primordial depths; before lifting a hand and resting it upon his dearest's cheek. "every day i thank the sea for returning you to me."

pahsiv and her vishap companion are meant to arrive any moment to bring them dinner (another surprise he had planned), but not even that knowledge can stop neuvillette from bringing their lips together, giving in at last to the magnetic pull he had so bravely resisted since the two other vishaps had departed. they have time, after all. they have all the time in the world, now. "happy birthday, vautrin."

There is a distinct divide within Vautrin's mind when it comes to the matter of birthdays: for those he loves, it is a day to celebrate them, a chance to convey even a little of the care he has for them, to see them happy; for himself, it is nothing but another day. He could count the number of times he celebrated as an adult on the fingers of one hand - and only then because a certain Melsuine had made sure it did not go unmarked. (To this day, he has no idea how she learned his birthday at all).

So he woke that morning feeling just as he did every other - in fact, truth be told, he had forgotten what the date was. It was only upon discovering that Neuvillette had not only requested his company but also taken the day off that the day's significance finally clicked.

Forgive me, Neuvillette asks, as if Vautrin's chest isn't fit to burst, as if he isn't choked with emotion because after all these years, he remembered. As if the idea of spending some time away from the Palais, some time together, isn't the most perfect way to spend a day that already holds so few fond memories. Though he doesn't speak the words - doesn't need to - there is something in the way his hand slips naturally into the sovereign's, in the warmth of his smile, that says there is nothing to forgive.

And, truly, there is no better way to celebrate than a swim beneath the waves, a return to the home they both now yearn for. Neuvillette leads and he follows, trailing only a little behind - for an oceanid cannot hope to match the speed and dexterity of a dragon - his gaze fixed with eternal awe upon the ethereal glow that surrounds them. In his mind he sees again that flash of history, gifted to him by an ancient sea, of the sovereign before he became the Iudex Neuvillette, of that truly beautiful hydro being in the midst of the ocean-

-and nearly collides with the narrow tunnel wall as it curves sharply around a bend. Thankfully, his lapse of attention seems to go unnoticed, and the slight flush of embarrassment he feels is quickly subdued when they break the surface only moments later into... a cave? Curiosity blooms at once, as he knows for certain that this place must have some significance for Neuvillette to bring him here. That it resides within Erinnyes is his first hint - perhaps Neuvillette wishes to share a piece of that history with him? Or perhaps this is simply a favoured place for him to seek solace from his more human life.

The truth, it appears, is neither and both at the same time. This is where I once lived. He stands, taking in the remnants scattered about this cave - at the signs of the life that had once called it home. His hand slips free of Neuvillette's as he finds himself drawn to the old tools, the hand-crafted treasures. He picks them up, studies them, passes gentle fingers over those that look more fragile. To an outside eye, such items may not seem all that interesting, but to Vautrin they are pieces of Neuvillette, fragments of his life, of who he is, and he will not dismiss a single one.

"I can... feel you." He utters, turning from the scattered treasures with a gentle smile. "In everything here. It's like... it's like when someone has a distinct scent - a perfume they prefer, or a soap they use - and if you catch it on the breeze you think, immediately, of them. Only, with you, it's not a scent, it's... it's just a feeling, here," he places a hand upon his chest, "and it is so... familiar."

It is no wonder the vishaps are drawn here, he thinks - surely they can sense the sovereign within these walls as he can? He wants to ask about the treasures, the tools, wants to explore more of this precious space, but his gaze is caught by the wooden box drawn from within Neuvillette's robes. Ah, he smiles, of course. As if sharing this piece of himself with him was not gift enough.

A new one to replace the old. For the second time that day, he finds himself choked with emotion, for there can be no doubt to what lies within that box, to what he is referring to. He accepts the box with care, lifts the lid with an almost tentative breath. The pin nestled within is a thing of beauty, and he at once knows that this, too, has been crafted by Neuvillette's own hands. "Neuvillette, this is..." The rest of his sentence is stolen away by the sentiment the medal represents, and he can do nothing but watch as Neuvillette carefully pins it in place.

He leans into the hand that settles upon his cheek, lifts his own to catch at the other's wrist as if to hold him in place. "And every day I thank the sea for giving me this life, so that I can share it with you."

There is already a warm swell of contentment, of bliss, that has settled within the captain's chest, and it only surges further upon the touch of their lips. He leans into him, against him, feels that pleasant hum in the back of his mind that only Neuvillette can summon. His lips curve against his into a smile of pure delight, and it is with a gentle sigh that he parts from him. "Thank you, Neuvillette... for bringing me here."

It is his turn to lay a hand upon the other's cheek, his turn to look upon him with a gaze of primordial waters. "For everything."

[thingstol00kat]

2024 Expos

Amazonias, Sebastiao Salgado. Fundación Fernán Gómez enero 2024, Madrid

Maestras, el Thyssen, enero 2024, Madrid

Reversos, el Prado, enero 2024 Madrid

Los mejores fotógrafos españoles del siglo XX, Blanca Berlín, enero 2024 Madrid

Mark Rothko at Fondation Louis Vuitton, jan 2024, Paris

i need to live, Juergen Teller. Grand Palais, jan 2024 Paris

Corps à Corps, l'histoire de la photographie. Pompidou, jan 2024 Paris

50 years of sketches, Picasso, Pompidou, jan 2024 Paris

Victor Burgin, Jeu de Paume, jan 2024 Paris

Capturer la beauté, Julia Margaret Cameron, Jeu de Paume, jan 2024 Paris

Men Untitled, Carolyn Drake. Fondation Henri Cartier Bresson, jan 2024 Paris

Some Say Ice, Alessandra Sanguinetti, Magnum Gallery, jan 2024 Paris

À toi de Faire, Ma Mignonne, Sophie Calle, Musée Picasso, jan 2024 Paris

Dream House NYC

Liz Deschenes, Miguel Abreu, NYC

Cindy Sherman, Hauser & Wirth, feb 2024 NYC

Exorcism of the Last Painting I Ever Made, Tracey Emin, Faurschou gallery, feb 2024 NYC

Scar Tissue (Blurred Earth) by donna Huanca, Faurschou gallery, Feb 2024 NYC

Barney Does it all, film by Bjarne Melgaard at Faurschou gallery, Feb 2024 NYC

The Train by Justine Kurland, Higher Pictures, Feb 2024 Brooklyn NY

Copy Machines Manifesto, Brooklyn Museum, feb 2024 NYC

The Wanda Coleman Playbook, Cauleen Smith, 52 Walker, Feb 2024 NYC

Broken Spectre by Robert Mosse, Jack Shainman gallery, feb 2024 NYC

Leaving Earth by Mary Lucier at Cirstin Tierney, feb 2024 NYC

Glorify Yourself by Carolyn Drake at Yancey Richardson, feb 2024 NYC

The Dissolve by Helen Van Meene at Yancey Richardson, feb 2024 NYC

Francesca Woodman at Gagosian, march 2024 NYC

Joan Jonas at MOMA, march 2024 NYC

Transmissions by Stan Van der Beek at Magenta Plains, NYC

el abrazo by Deisy Morelos at DIA Chelsea, march 2024 NYC

Pippilotti Rist at Luhring Augustine, march 2024, NYC

Born Black by Gordon Parks at Jack Shainman, march 2024 NYC

Anti-Aging by Lynn Hersman Leeson, Bridget Donahue, april 2024 NYC

Whitney Biennial 2024, NYC

Panoramas by Josef Koudelka at Pace gallery, april 2024 NYC

Glass Flowers by Michal Rovner at Pace, april 2024 NYC

More than I Could Ask for by Dawn Kim, Penumbra Foundation, april 2024 NYC

AIPAD Photo Fair, april 2024 NYC

Don't Forget to call your mother, MEt Museum, june 2024 NYC

Roni Horn, Hauser & Wirth, june 2024 NYC

Aperture Portfolio prize, Avion Pearce at Baxter St, june 2024 NYC

Fistful of love by Reynaldo Rivera, Moma PS1, june 2024 NYC

Moments of Solidarity, LaToya Ruby Frazier, Moma june 2024 NYC

Vivan Maier retro at Fotografiska, august 2024 NYC

Bruce Gilden at Fotografiska, august 2024 NYC

Forks & Spoons curated by Moyra Davey at Bucholz Gallery, april 2024 NYC

Hugh Hayden bathroom exhibition at Lisson

Rituals of Care by Lee Mingwei at deYoung, may 2024 SF

Irving Penn retro at deYoung museum, may 2024 SF

Pier24 final exhibition

Rialto, Peter Hujar at Ukranian Museum, july 2024 NYC

You never did anything wrong, Nan Goldin at Gagosian, sept 2024 NYC

Marisol at Albright Knox, july 2024 Buffalo

Into the Middle of Things by Sophie Schwartz, CC projects, sept 2024 NYC

Baltimore Museum of Art, sept 2024 Baltimore

Subtitled by Christian Markley at Paula Cooper gallery, sept 2024 NYC

SCUMB Flowers by Justine Kurland at Dashwood Projects, sept 2024 NYC

DEEP PHOTOS / IN THE BEGINNING by Laurie Simmons at 46 Henry, sept 2024, NYC

Gregory Crewdson, sept 2024 nyc

Alvin Ailey at the Whitney, NYC, Oct 2024

Ethan James Green, Bombshell, KAPP KAPP , Oct 2024 NYC

Magazinno Italian Art Museum, nov 2024, upstate NYC

Long Story Short by Tania Franco Cohen, Yancey Richardson, nov 2024 NYC

Ref_USE by Silvia Paredes en Space 2 be, nov 2024, Madrid

Life Dances On, Robert Frank at MOMA, nov 2024 NYC

Autopsia del espectáculo, Weegee, Fundación Mapfre, nov 2024 Madrid

31 mujeres de Peggy Guggenheim, fundación mapdre, nov 2024 Madrid

Henry Moore & Georgia O'Keefe at MFA Boston, nov 2024, Boston

Mary Ellen Mark, Tiny at Isabella Stewart Gardner museum, nov 2024, Boston

Kiss of the Sun by Lee Mary Manning, Canada, dec 2024 NYC

The Clock by Christian Marclay at MOMA, dec 2024, NYC

Noguchi Museum, Queens, dec 2024 NYC

NYPL Bohemia exhibition, dec 2024 NYC

Alina Patrick at Brooklyn Film Camera, dec 2024 nyc

To Build an Island by Carlos Chavarría en Le Mur, dic 2024 MAdrid

[jacopocioni]

Tutti gli UFO sopra Firenze dalla guerra ad oggi: 1967 e 1968 1° parte

Ci credete? Non ci credete? Poco importa. Il fenomeno ufologico è vecchio quanto il mondo. Gli avvistamenti, reali, finti, "costruiti" nel mondo sono innumerevoli e su Firenze e provincia non mancano. Questa è un piccola rubrica per citare gli avvistamenti registrati su Firenze e provincia dal 1946 al 1980, se poi qualcuno ha a disposizione anche quelli successivi, e ce li fornisce, potremmo pubblicare anche quelli dal 1980 in poi. Questo l'articolo precedente: Tutti gli UFO sopra Firenze dalla guerra ad oggi: 1964 Il 18 luglio 1967 sopra il cielo di Firenze circa alle 02:10 furono visti globi luminosi, lo riporta La Nazione del 19-07-1967 Moltissime persone videro da Firenze, come in altre parti della Toscana, una formazione di globi luminosi che solcarono il cielo da est verso ovest. Un fiorentino disse che erano dieci ad un migliaio di metri di altezza. Uno di dimensioni più grande degli altri, e sembrava guidare la formazione, e che emanava un chiarore rossastro. L'avvistamento di questa formazione fu riferito anche in varie parti dell'Italia e dell'Europa. Il 9 giugno 1968 sul cielo di Pontassieve circa alle 22:00 fu visto un punto luminoso, lo riferisce Il Giornale dei Misteri n. 47, doc. 959 Il geometra A.I. e altri due colleghi S.M. e L.C., mentre si trovavano al Tennis Club "Le Palaie" per assistere al tradizionale torneo del "Chianti Putto", osservarono verso Firenze, alto nel cielo, avvistarono un punto luminoso. Sembrava una finestra lontana la cui luce si accendeva e si spegneva irregolarmente. A quella quota non vi dovevano essere nè case nè colline. I tre tornarono a seguire lo svolgimento della gara, quando improvvisamente, a circa 60 metri davanti a loro, in alto su una collina, si accese una seconda luce a forma di cono, o meglio, pareva una statua non molto alta ma affusolata ed aveva una luce rosea che non illuminava niente all'intorno. Sugli spalti non vi era più nessuno a seguire la gara. Dopo poco, le luci scomparvero misteriosamente così come erano comparse. La mattina dopo, i tre tornarono sul posto, ma non trovarono tracce di quello di cui erano stati testimoni la sera precedente. Il 23 giugno 1968 nel cielo di Fiesole circa alle 23:30 fu visto un disco luminoso, lo riporta La Nazione Sera del 24-06-1968 Molte persone, prima che si scatenasse un temporale, videro passare in cielo un grosso disco luminoso. Tra i testimoni vi era lo studente diciannovenne Luca Verrone, residente in via Stoppani, il quale vide dalla sua terrazza un grosso disco che emanava una luce rossastra, proveniente da Fiesole e diretto verso il rione delle Cure. Guardando meglio, lo studente riuscì a distinguere tanti raggi che partivano dal centro della sfera, dove vi era una luce variabile non molto luminosa. Era a circa 900 metri di quota e la sua direzione era contraria al vento che spirava verso Fiesole. Affacciato ad una finestra vicina, c'era un uomo il quale vide anche lui il fenomeno. Più tardi, rientrò il padre del giovane, il quale disse di aver notato molta gente con il naso all'insù a scrutare il cielo attraversato da un disco luminoso. Il 17 luglio 1968 nel cielo di Firenze circa alle 00:35 fu visto un oggetto velocissimo, lo riporta La Nazione del 17-07-1968 Tre persone che uscivano da un cinema di via del Ponte alle Mosse, notarono un oggetto che precedeva a fortissima velocità con direzione da monte Morello verso le Cascine, dove poi è scomparso. L'avvistamento durò pochissimi secondi. Le tre persone, il direttore del cinema, il direttore dell'agenzia di una società di assicurazioni ed un astronomo dilettante, ebbero il tempo di vedere che si trattava di un oggetto di colore bianco-celeste, che lasciava una breve striscia rossastra. Non provocava alcun rumore. Per i testimoni fu "una scena fantastica". Il 10 agosto 1968 nei cieli di Galliano Mugello circa alle 19:00 fu vista un oggetto luminoso, lo riporta Clypeus a. VI, n. 5 - Semestre 1969, pp. 134-135 Lo studente Maresco Magnolfi (residente a Galliano Mugello in via Marcoiano), durante un compito in classe di Italiano, con tema "Cercate di rievocare qualche curioso episodio della vostra prima fanciullezza", scrisse che mentre si era recato con suo padre e la propria canina, verso le 19:00, a fare una passeggiata nel bosco, notò ad un tratto un chiarore che apparve in cielo. Alzando il capo, lui e suo padre videro una grande luce somigliante alla Luna. Questa scendeva con velocità costante verso il bosco, lasciando dietro di se una scia verde. Dopo alcuni secondi scomparve ed dal punto di partenza lasciò una nuvola di fumo che poi sparì dopo circa un quarto d'ora. Mentre accadeva tutto questo, la propria canina iniziò ad abbaiare, i fagiani a cantare e, con essi, pure gufi e civette, mentre l'aria si fece calda e un gran boato fece rintronare la terra. Read the full article

[bedlice]

i present to you my future wedding dress

[bebemoon]

look for the name: ROSITA

@vanillecaffee

izzy's world distressed rework black halter top w/ pink ribbon laced front

mirror palais petticoat in noir color

ottolinger signature ceramic sand bow bag

john galliano black silk lace-up "slingback lingerie" heels, c. 2ooo's

versace "baby rose jeans" eau de toilette, first launched in 1995

vivienne westwood silver metal slim cigarette case w/ all-over orb logo

pink moss necklace w/ metal locks, black river pearls, mother shell, white pearls and low temperature ceramic mushroom

[shadesofcool3333]

mirror pics📸

[vogues1ut]

i am obsessed with Mirror Palais

[digitalgirlsthings]

[svenskfilm]

Elisabeth Moss, Claes Bang, Dominic West, Ruben Östlund, Christopher Læssø, and Erik Hemmendorff attends the 'The Square' photocall during the 70th annual Cannes Film Festival at Palais des Festivals on May 20, 2017 in Cannes, France. May 20, 2017.

[fashionbooksmilano]

Vogue Paris 100 Years

Sylvie Lécallier,  Alice Morin, Sophie Kurkdjian, Marlène van de Casteele, Alexis Romero, Jérôme Gautier, Pierre Ponant

Thames & Hudson, London 2021, 296 pages, 24x31cm. , ISBN  978-0500024805

euro 59,00

email if you want to buy booksinprogressmilano@yahoo.it

The Palais Galliera Paris presents a major new exhibition celebrating 100 years of Vogue Paris magazine  02.10.2021 - 30.01.2022

Vogue Paris has always been so much more than a fashion magazine. It has assumed a central and vital role on the international cultural stage, with a history that spans the most inventive decades in fashion and taste, and in the arts and society. It has acted as a cultural bellwether, putting fashion in the context of the larger world in which we live and mirroring its times – the postwar renaissance of Paris and haute couture, the New Wave, the radical seventies, the glamorous eighties. As it enters its second century, it remains at the cutting edge of photography and design. Published to mark the magazine’s centenary, this book celebrates Vogue Paris’s history from its first issue in 1920 to its current incarnation with Emmanuelle Alt at the helm. On its pages are creations by some of the greatest artists of their era, whether distinguished illustrators such as #Lepape, #Gruau and #Benito, or photographers such as #ManRay, #HelmutNewton, #GuyBourdin and #MarioTestino. Here, too, are iconic faces: Catherine Deneuve, Audrey Hepburn, Brigitte Bardot, Kate Moss and more. And of course, it showcases the fashion designers who defined the century – #Chanel, #Dior, #Balenciaga, #SaintLaurent, #McQueen – and explores more broadly the changing mores of the past hundred years.

18/11/21

orders to: booksinprogressmilano@yahoo.it

ordini a: booksinprogressmilano@yahoo.it

twitter: @fashionbooksmi

instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano

[leblogdemarinaetjm]

SAMEDI 9 AVRIL 2022 (Billet 1 / 3)

La disparition que nous évoquions dans la Newsletter de mardi dernier est celle du photographe Patrick Demarchelier.

Nous étions allés en 2008 au Petit Palais voir une rétrospective qui lui était consacrée. L’originalité, c’était que ses photos étaient exposées au milieu des œuvres permanentes du Musée. Certaines « confrontations » ou au contraire certains « rapprochements » étaient fort intéressants.

Nous avons trouvé une petite vidéo (voir ci-dessus) que nous avons été obligés de pi…ater (mille excuses au créateur) car impossible de la télécharger telle quelle sur le Blog.

Et ci-dessous, après celles de notre album, quelques photos de l’Expo trouvées sur le Net. A l’époque nous n’avions pas de Blog et JM étaient beaucoup plus « vidéo » que « photos »… il n’avait d’ailleurs qu’un petit Olympus automatique. Ces photos donnent une petite idée de l’immense talent de l’artiste. Du moins, c’est notre point de vue.

__________________________________

Décès de Patrick Demarchelier, photographe personnel de Lady Di

Naomi Campbell, Kate Moss, Nicole Kidman et la princesse Diana ont toutes été immortalisées par l'objectif de ce photographe. Figure incontournable du monde de la mode, avant d'être rattrapé par des accusations de harcèlement sexuel, Patrick Demarchelier, né le 21 août 1943 en banlieue parisienne, est décédé le 31 mars 2022 à l'âge de 78 ans.

Pilier de la photographie de mode, il a principalement travaillé pour deux magazines : le Harper's Bazaar et l'édition américaine de Vogue, avant de travailler pour de grandes marques de mode dont Chanel, Dior ou encore Armani. Au cours de ses quarante ans de carrière, il a fait poser les plus grands tops des années 1990 dont Naomi Campbell ou encore Cindy Crawford, tout en photographiant les icônes hollywoodiennes comme Nicole Kidman, alors enceinte, ou Madonna. Mais il aura surtout été le photographe personnel de Lady Di, la princesse de Galles.

Maître du portrait

Indissociable du monde de la mode, son nom avait été cité à plusieurs reprises dans le film « Le diable s'habille en Prada », satire de ce secteur où Meryl Streep campe un personnage inspiré d'Anna Wintour, rédactrice en chef de l'édition américaine de Vogue. Ce même monde avait pris ses distances avec lui dès 2018 lorsque plusieurs femmes l'ont accusé de harcèlement sexuel. Patrick Demarchelier a toujours nié les faits, mais le groupe Condé Nast (propriétaire notamment de Vogue, Glamour…) avait mis fin à leur relation de travail.

Vendredi, sur son compte Twitter, la Fédération de la haute couture et de la mode loue un « portraitiste brillant qui a fait briller la mode française et internationale dans le monde entier ». « Repose en paix Patrick Demarchelier. Merci pour tous ces bons souvenirs et ces photos magiques et intemporelles », a réagi le top Cindy Crawford sur Instagram. « La mode vient de perdre un de ses plus grands photographes… Patrick Demarchelier était le maître absolu du portrait et a su capturer, dans la plus grande simplicité, l'essence des femmes », a complété sur Twitter l'ex-top brésilien Cristina Cordula.

Né au Havre (Normandie), il commence la photographie à l'âge de 17 ans. À 20 ans, il emménage Paris pour réaliser son rêve : devenir photographe de mode. Rêve qui l'emmènera à New York en 1975, où il débutera comme assistant photographe avant de commencer à photographier pour la bible de la mode : Vogue. Une star est née. Il impose son style dans les plus grands magazines de mode : Harper's Bazaar, Vogue, Elle… Un style qu'il revendique comme simple et épuré : « Les gens comme Bourdin ou Newton ramènent le sujet à eux-mêmes, moi je m'efface […]. Je préfère que ce soit le sujet qui s'exprime », confiait-il au journal Le Monde en 2008, alors que le Petit Palais lui consacrait une exposition.

À chaque fois, les femmes sont immortalisées sans rides, minces et heureuses. Mais de ces photos, les plus iconiques sont celles de la princesse Diana. La série la plus emblématique est celle publiée par le British Vogue. Sur l'une d'elles, on voit une Lady Di solaire, immortalisée en noir et blanc couronne sur la tête, assise sur le sol. C'est à la suite de cette série qu'il deviendra son portraitiste personnel, devenant ainsi le premier photographe de la famille royale britannique qui ne soit pas anglais. En 2005, il signe le célèbre calendrier culte Pirelli. Une consécration pour de nombreux photographes de mode.

(Source : « lepoint.fr »)

[joseandrestabarnia]

Escena en las marismas del Nilo

Alrededor de 1450-1400 a.C. (mediados de la dinastía XVIII). Tebas, tumba de Néferp, pintura sobre limo. H .: 43 cm. ; l. : 74,50 cm. E 13101

Muchas tumbas de la dinastía XVIII presentaban representaciones de la caza del propietario de la tumba. Este fragmento muestra a las aves volando de un grupo de papiro, perturbadas por una gent y una mangosta que amenazan sus nidos; podemos distinguir una abubilla, patos, un búho, una garza, e incluso algunas mariposas. Los colores frescos y la vivacidad de la escena reflejan la habilidad del pintor.

La marisma de papiro, un paisaje egipcio

La extraordinaria precisión de las pinturas y relieves de la época faraónica nos dan una imagen clara de los paisajes de la época. Enormes matorrales de papiro creció en los meandros y pantanos que bordean el Nilo; sus tallos triangulares llevaban umbelas verdes que podían alcanzar una altura de seis metros. Esta planta ha desaparecido de Egipto. En la Antigüedad, estos matorrales de papiro se llenaban de vida animal. Los nidos de aves se balanceaban en la parte superior de los tallos que cobras, mangostas y gatos salvajes intentaron escalar, mientras que enjambres de aves e insectos volaban sobre el agua.

El primer visitante

En 1822 Frédéric Cailliaud fue el primer hombre occidental en entrar en la tumba intacta de Neferhotep, el "Overseer of the Two Granaries" de Tuthmosis III o Amenophis II. El dibujo que hizo muestra exactamente cómo era el interior de la tumba. También fue Frédéric Cailliaud quien redescubrió las pirámides de Meroo (Sudán).

Escenas de vida silvestre

Esta pintura fue la parte central de una escena de caza y pesca, tal vez destinada a entretener a los fallecidos en el más allá, o a simbolizar la lucha contra el caos (evocado por estas zonas pantanosas pobladas de animales salvajes). Tales escenas aparecen en muchas tumbas, desde el Antiguo Reino hasta el Período Tardío. El pintor hizo de esta vida silvestre un agudo sentido de la observación, la composición y el color. Pintó el aleteo de mariposas y aves (patos salvajes, abubilla, garza, etc); un pájaro se sienta sobre sus huevos, los incipientes se acurrucan en su nido y, abajo, un pato se sumerge en el río. Dos pequeños carnívoros se interesan mucho en esta conmoción: una mangosta (a la derecha) y una genet (a la izquierda). Sin embargo, la disposición en forma de abanico del matorral no se ve perturbada por esta intensa actividad. El verde oscuro de los robustos tallos de papiro destaca sobre un fondo semicircular verde claro. Las umbelas forman un precioso friso decorativo sobre un fondo blanco: cada uno encaja en el espacio definido por sus vecinos. Las umbelas en los tallos más cortos están en brote, mientras que los ligeramente más altos tienen corolas; los más altos están en plena floración, sus puntas se unen en un festoon amarillo continuo, eclosionado de rojo.

Bibliografía

Collectif, Les antiquités égyptiennes, Guide du visiteur, 1997,

p. 27 Ziegler, Le monde de la Bible, 1992, T. 78, p. 43

Delange, Trésors du plus grand musée du monde, 1991, p. 73

Manniche, Las tumbas perdidas de Tebas, 1988, p.43 SQQ

La naissance de l'écriture, París, Grand Palais, 1982, not no. 301

La vie au bord du Nil au temps des Pharaons, Calais, 1980, p.20 y 21, not no. 1

Porter et Moss, Topograph biblioicalgraphy, 1973, T.73, T. I, p. 449,

n 1 Keimer, Ann. Serv.

Departamento de antigüedades egipcias, Musée du Louvre.

Información del museo.