#Paul-Émile Victor

[violenceviolette]

Outside, the wind and the sea. Within me is joy.

Paul-Émile Victor, Diaries 1936-1937

[stephanedugast]

📌 [ÉCHO] Comme un certain PEV, j'en ai pour 500 ans de projets ! Ma première BD 💬 est enfin finalisée. Son titre ? « Le souffle de l’aventure ». C'est le tome 1 d'une série inédite consacrée à Paul-Émile Victor (tiens, tiens !). Un album en précommande à tarif préférentiel. Soutenez-nous.

Pour en savoir + 👇

[clove-pinks]

I've been going on something of a mini-dive into the Franco-Prussian War. It really hasn't been on my radar, although increasingly I come across it (thanks Victor Hugo I guess)—and as a piece of trivia Paul Gavarni's son Pierre, who painted as Pierre Gavarni, was awarded Chevalier de la Légion d'honneur for his actions during the war (I have no information about what he did).

"The Franco-Prussian War: Depicting defeat" is a fantastic series of blog posts that I've found, focused on art of the war. Émile Betsellère's L’Oublié (The Forgotten) is absolutely devastating.

(The artist's model for this painting was an actual soldier in the conflict who was injured and abandoned on the battlefield, Théodore Larran, who later married the nurse who saved his life.)

In the Trenches (1874), by Alphonse de Neuville. You look at scenes like this and all those people around the turn of the 20th century who said a huge war could NEVER happen again sound a hundred times more demented.

[theodoradove]

SF Silent Film Festival winter program!

Saturday, December 2, Castro Theatre

More information, tickets and passes at silentfilm.org

10:00 AM

OF MICE AND MEN (AND CATS AND CLOWNS)

A collection of animated shorts, 1908–1928

Some of the most creative films from the silent era came out of an inkwell! Our collection includes animated shorts from 1908–1928, films that outshine much of what followed. For sheer audacity and pure joy, these films by cartoon masters Including the Fleischer brothers, Pat Sullivan, and Walt Disney, can’t be beat!

Fantasmagorie (1908, d. Émile Cohl)

How a Mosquito Operates (1912, d. Winsor McKay)

Adam Raises Cain (1922, d. Tony Sarg)

Amateur Night on the Ark (1923, d. Paul Terry)

Bed Time (1923, d. Dave and Max Fleischer)

Felix Grabs His Grub (1923, d. Pat Sullivan)

A Trip to Mars (1924, d. Dave and Max Fleischer)

Vacation (1924, d. Dave and Max Fleisher)

Alice’s Balloon Race (1926, d. Walt Disney)

Felix the Cat in Sure Locked Homes (1928, d. Pat Sullivan)

Live music by WAYNE BARKER and NICHOLAS WHITE

12:00 NOON

THE WILDCAT (Die Bergkatze)

1921, d. Ernst Lubitsch

Pola Negri, Victor Janson, Paul Heidemann

Before director Ernst Lubitsch left Germany to ply his famous ‘Touch’ in Hollywood, he made a series of comedies that gave hints at what was to come. The Wildcat is his last German comedy and his most riotously zany. Subtitled ‘A Grotesque in Four Acts,’ Wildcat makes use of extravagant set design and eccentric frame shapes that lend a surrealistic edge to its antic energy. Pola Negri’s Rischka leads a gang of mountain bandits who ambush Lieutenant Alexis (Paul Heidemann) on his way to the local fortress, leaving him pant-less (and smitten) on the ice. Film writer John Gillett called the film “both an anti-militarist satire and a wonderful fairy tale.”

Live music by MONT ALTO MOTION PICTURE ORCHESTRA

2:15 PM

THE EAGLE

1925, d. Clarence Brown

Rudolph Valentino, Vilma Banky, Louise Dresser

Clarence Brown's rousing film displays a perfect blend of elements—romance, swashbuckling, a modicum of humor, and the great Rudolph Valentino! Not to mention the splendid production design by William Cameron Menzies and gorgeous camerawork by George Barnes. After Valentino's Russian lieutenant rejects the amorous attentions of Catherine the Great (Louise Dresser), she orders him arrested. Instead, he flees and becomes a masked avenger intent on righting the wrongs visited upon his father and his countrymen by loutish nobleman Kryilla Trouekouroff (James A. Marcus). But the nobleman has a beautiful daughter (Vilma Banky)...

Live music by WAYNE BARKER

4:15 PM

PAVEMENT BUTTERFLY (Großstadtshmetterling)

Germany/Great Britain, 1928/1929, d. Richard Eichberg

Gaston Jacquet, Anna May Wong

Luminous Anna May Wong goes from a fan-dancing carnival act to an artist garret and finally to the French Riviera where she accompanies a wealthy art patron around Monte Carlo, draped in haute couture. Wong left Hollywood in search of roles more fitting her talents than the racially-circumscribed ones at home. This Weimar title showcases her magnetism—when Wong is onscreen, you can't look away.

Live music by the SASCHA JACOBSEN ENSEMBLE

7:00 PM

SAFETY LAST!

1923, d. Fred C. Newmeyer, Sam Taylor

Harold Lloyd, Mildred Davis

Harold Lloyd's bumpkin salesclerk comes up with a publicity stunt that will bring attention to his department store and earn him the money to marry his sweetheart—scale the 12-story building like a human fly! Shot in downtown Los Angeles, the stunt has given us one of the most iconic images of the silent era—Lloyd precariously hanging over the city street, dangling from a broken clock. James Agee wrote: "Each new floor is like a new stanza in a poem; and the higher and more horrifying it gets, the funnier it gets."

Live music by MONT ALTO MOTION PICTURE ORCHESTRA

9:00 PM

FORGOTTEN FACES

1928, d. Victor Schwertzinger

Clive Brook, William Powell, Olga Baclanova

Heliotrope Harry (Clive Brook) and Froggy (William Powell) are partners in crime—genteel armed robbery—at least until the cuckolded Harry commits an even bigger offense. Before Harry goes to prison, he leaves his baby girl on the doorstep of a wealthy couple to keep her out of the clutches of his no-good wife Lilly (Olga Baclanova) and tasks Froggy with keeping close tabs. But Froggy is no match for Lilly...

Live music by the SASCHA JACOBSEN ENSEMBLE

[byneddiedingo]

Harry Baur in Les Misérables (Raymond Bernard, 1934) Cast: Harry Baur, Charles Vanel, Florelle, Josseline Gaël, Gaby Triquet, Jean Servais, Orane Demazis, Gilberte Savary, Charles Dullin, Marguerite Moreno, Émile Genevois, Robert Vidalin, Paul Azaïs, Max Dearly, Henry Krauss. Screenplay: Raymond Bernard, André Lang, based on a novel by Victor Hugo. Cinematography: Jules Kruger. Production design: Lucien Carré, Jean Perrier. Music: Arthur Honegger. Harry Baur gives one of the great film performances in Les Misérables, beginning with a tour de force in the first installment, subtitled Tempest in a Skull, in which he plays not only the brutish convict Jean Valjean and his first assumed identity, the benevolent mayor of Montreuil-sur-Mer, M. Madeleine, but also the addle-brained Champmathieu, wrongly fingered as the fugitive Valjean. Baur's Valjean is not the dashing, younger heroic figure embodied by Fredric March in Richard Boleslawski's 1935 Hollywood version or Hugh Jackman in Tom Hooper's 2012 film of the musical. March and Jackman had to work hard to suggest Valjean's hardened convict past, but Baur looks the part. He cleans up nicely, though. Raymond Bernard's version is closer to the epic Victor Hugo novel than the later adaptations, which necessitates its miniseries length: a 281-minute total run time, divided into three films. Trilogies typically sag in the middle: In Peter Jackson's Lord of the Rings, for example, The Two Towers (2002) is weaker than The Fellowship of the Ring (2001) and The Return of the King (2003). But Bernard manages to give each part fairly equal heft, concentrating on Valjean's transformation in Tempest in a Skull, on the thwarted manipulations of the titular couple in The Thénardiers, and on the fight on the barricades in Freedom, Dear Freedom. This is not to say that there isn't some slackness within each installment: Bernard, like many directors who mastered their skills making silent films, doesn't seem fully at home with sound even yet; there are scenes in which the actors seem to be holding a pose a beat or two longer than necessary. And despite Arthur Honegger's distinguished score, Bernard allows some scenes that could use the "sweetening" of background music to go without it. In The Thénardiers, for example, the plot to ensnare Valjean and the ensuing fight scene could have used some tension-and-release music, but the score only begins, rather abruptly, when the lovers, Marius (Jean Servais) and Cosette (Josseline Gaël), meet. But as a totality, Les Misérables is a triumph, and apparently a little-known one, to judge by the fact that it doesn't come up as one of the top results in an IMDb search. Jules Kruger's cinematography gives an expressionist tilt to some of its scenes, and the production design, from the slummy haunts of the Thénardiers to the opulence of Gillenormand's mansion, is superb. But most of all it has Baur and a tremendous supporting cast, particularly Florelle* as a very touching Fantine, and Émile Genevois as a memorable Gavroche. Charles Vanel's Javert is not humanized sufficiently in the script, I think, so that his suicide comes as something of an anticlimax, but he gives it all the implacable menace the role allows him. But it's Baur who carries the film as impressively as he carries Servais's Marius through the sewers in the climax.

*Her full name was Odette Elisa Joséphine Marguerite Rousseau, and she was occasionally billed as Odette Florelle. It's too bad that today her screen name sounds like an air freshener.

[vivelafranceblog]

Musée d'Orsay

Museum in Paris

The Musée d'Orsay is a museum in Paris, France, on the Left Bank of the Seine. It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. 

Address: Esplanade Valéry Giscard d'Estaing, 75007 Paris

Phone: 01 40 49 48 14

Stories from the collection: From Station to the Renovated Musée d'Orsay

Founded: 1986, Paris

Architects: Gae Aulenti, Victor Laloux, Émile Bénard, Lucien Magne, Jean-Paul Philippon, Pierre Colboc, Renaud Bardon

Architectural style: Beaux-Arts architecture

Founder: Valery d'Estaing

The Ballroom - Musée d'Orsay, Paris

Photographed by Freddie Ardley - instagram

[1939-wizard-of-oz]

Une impressionniste oubliée sort de l’ombre au musée de Pont-Aven : Anna Boch

Arts et Expositions

Par Guy Boyer le 06.02.2024

Montée avec le musée d’Ostende, l’exposition consacrée à la femme peintre et collectionneuse Anna Boch (1848-1936) permet de découvrir cette figure méconnue de la période impressionniste et postimpressionniste venue en Bretagne en 1901 et 1912.

Premier événement à bénéficier de la générosité du musée d’Orsay en parallèle à l’exposition « Paris 1874. Inventer l’impressionnisme » (du 26 mars au 14 juillet), l’exposition « Anna Boch. Un voyage impressionniste » au musée de Pont-Aven, jusqu’au 26 mai, met au cœur de son parcours le Portrait d’Eugène Boch de Vincent Van Gogh (1853-1890) prêté par le musée parisien. Cette œuvre importante souligne les liens de cette famille belge avec l’avant-garde des années 1890 et leur goût de la collection.

Collectionneurs de Van Gogh, Gauguin, Marquet

L’exposition commence par la carrière de peintre d’Anna Boch, de ses débuts en Belgique jusqu’à ses voyages en Bretagne et dans le Sud de la France. Malgré certaines œuvres assez faibles, le corpus de cette artiste méconnue surprend par certains éclairs de génie et plusieurs emprunts à ses contemporains comme Segantini ou Valtat. Vient ensuite une section dédiée à ses différentes demeures et ses commandes à des artistes Art Nouveau comme Victor Horta (une réussite) et Maurice Denis (un échec). L’un des chapitres les plus passionnants reste celui consacré à ses collections artistiques puisqu’Anna Boch et son frère Eugène possédaient des Ensor, Gauguin, Van Gogh, Émile Bernard, Paul Signac, Henry Moret et Albert Marquet.

Une fortune de faïence

En Belgique, le père d’Anna Boch est célèbre car il est le fondateur de la société de faïencerie Boch frères (antenne belge de Villeroy & Boch). La famille vit confortablement dans le château de La Closière, près de La Louvière. Dès les années 1870, Anna Boch décore des plaques, plats et assiettes en camaïeu de bleus. Dans ces premières créations de céramique, on peut retrouver des traces de sa formation auprès d’Isidore Verheyden, un peintre de plein air (ne pas manquer son incroyable portrait par Anna Boch, où on le voit penché sur un tableau posé en biais).

Avec le groupe des XX

Dès 1885, Anna Boch rejoint le salon des XX, un cercle artistique fondé par son cousin Octave Maus, où exposent James Ensor et Jan Toorop mais aussi une quantité d’invités étrangers. C’est là qu’elle voit les dernières nouveautés artistiques, du divisionnisme de Segantini au pointillisme de Seurat. On reconnaît dans le travail d’Anna Boch une solidité de la composition (ici le reflet du bouquet de fleurs dans un miroir) et une harmonie des couleurs.

Une famille voyageuse

Aimant se déplacer facilement, Anna Boch achète une Minerva en 1907. On la voit ici, à bord de l’automobile, parmi les paysages du Midi de la France. Deux tableaux superposés permettent de comparer son style et celui de son frère. Devant un même paysage méditerranéen surmonté d’une tour sarrasine, on voit leurs approches différentes. Lui (en haut) schématise la composition, elle (en bas) joue des effets de matières et de couleurs. Même le chauffeur, Albert Lepreux, est de la partie et plante son chevalet avec eux dans la nature, de la Normandie au Maroc.

La Bretagne en deux temps

En 1901 et en 1912, la troupe sillonne la Bretagne. De Bénodet à Carhaix, Anna Boch en ramène des paysages maritimes. Aux plages des bords de l’Odet du premier séjour succèdent les falaises et rochers de la Bretagne du nord. Les grands formats panoramiques sont ensuite remplacés par des toiles au cadrage resserré.

Des commandes aux artistes

C’est l’architecte belge Art Nouveau Victor Horta qui restaure en 1895 la villa d’Anna Boch dans le quartier de Saint-Gilles à Bruxelles. Huit ans plus tard, la commanditaire déménage dans une maison construite par Paul Hermanus à Ixelles, où elle fait transporter le décor de Horta, cheminée comprise. Elle imagine également un grand décor qu’elle confie à Maurice Denis mais devant toutes les allégories antiques que celui-ci propose, elle préfère renoncer.

En pleine nature

L’exposition se conclue par une section plus faible consacrée aux liens d’Anna Boch avec le groupe de peintres luministes Vie et lumière. Les scènes bucoliques de ramasseurs de glands ou de ramendeuses de filets, qu’elle réalise alors, perdent en nervosité et en contrastes colorés. Pourtant, c’est l’époque d’une certaine reconnaissance publique en France puisqu’elle expose à la galerie Druet en 1908. Dans les années 1930, elle organise le devenir de ses collections, donnant plusieurs œuvres aux musées royaux des Beaux-Arts de Belgique ou au musée d’Ixelles.

https://www.connaissancedesarts.com/arts-expositions/impressionnisme/une-impressionniste-oubliee-sort-de-lombre-au-musee-de-pont-aven-11189177/

[lastchancevillagegreen]

Top Ten Favorite Reads of 2023

I read 80 books this year and throughout the year I had three contenders for what I thought was the best book read.  And then it dawned on me, there was only one real choice.  This year, as I have done many years in the past, I grouped more than one book together by the same author for Best Book of The Year.  And that can only mean one person: Émile Zola. 

#1

The Assommoir Émile Zola (1877)

The Masterpiece Émile Zola (1886)

La Bête Humaine Émile Zola (1890)

Germinal Émile Zola (1885)

Earth Émile Zola (1887)

La Débâcle Émile Zola (1892)

Without going overboard on my descriptor Zola wrote 20 books known as the Rougon-Mcquart series which documents these two families over five generations and how mental illness and alcoholism effect their bloodline.  There is no way I could distinguish a ranking for these six Zola novels, all great, all devastating and all memorable.  In The Assommoir we see how alcoholism and poverty destroy the hard working Gervase, a woman who owns a laundry service.  In The Masterpiece, Gervase’s son Claude foregoes everything to become a painter and create the ultimate work of art.  Zola based this novel on his friendship with Paul Cezanne.  When Cezanne read the novel, he never spoke to Zola again.  La Bête Humaine concerns railroad workers and mixes jealousy with violence.  In the opening scene the heroine Sverine is brutally beaten and raped by her husband.  It only gets worse from that point: murder, pedophilia, and a hero who loves his train (a major character in the book).  Germinal concerns the coal mining strike in France in the late 1800s and the subsequent riots that saw many miners gunned down by police.  Were I to choose one novel to represent Zola, this would be the one.  Incredibly violent (what the striking mining women do to a store owner who used them sexually in exchange for food is nothing you will ever forget) yet heartbreaking in its depiction of starvation, disease and illness (not to mention Zola’s compassion for the horse stuck in the mines for a decade) Germinal is one of the great works of classic literature.  Earth deals with itinerant farmers and if you thought Zola might relax his violence and adore the land, you’d be wrong.  However, one of Zola’s funniest characters is in this book: a drunkard named Jesus Christ who schemes to steal his father’s hidden wealth.  And lastly, La Débâcle Zola’s longest novel, takes us onto the battlefield depicting the Prussian-Franco war in 1870 in which France was routed and Paris literally burns to the ground.  More violence, but heartbreaking depictions of death abound.  When Zola takes us inside a hospital and begins detailing amputations and other necessary surgeries, you’ll be excused if you grow woozy from the details.  I’ve read mountains of classic literature from just about any author you care to name, but I’ve never encountered anything as powerful as Émile Zola’s writing. 

This year, I’m ranking my Top Ten favorite reads, which I’ve never done before. 

#2

The Bee Sting Paul Murray (2023)

Dickie and Imelda’s marriage is falling apart as Dickie’s car dealership is crashing.  Dickie is certain it all has to do with that bee sting his wife suffered on the day of their wedding (it got caught under her bridal veil).  Their children PJ and Cass are headed for disaster as well.  Can any one of the Barnes family be saved and come out on top?  Impossibly funny and painfully tragic this book impressed me so much I immediately went out and bought all of Murray’s other novels.  And no, the 200 pages without any punctuation did not bother me one iota. And never read a review of this book: every review I’ve read details major spoilers. 

#3

Notre-Dame de Paris Victor Hugo (1831)

Most all of us know this book by the title of the movie: The Hunchback of Notre-Dame.  But if you have only seen the movie (either film with Lon Chaney or Charles Laughton) be aware the movies have sanitized the book, there are no happy endings, unless you are Quasimodo (whose name is a religious term, look it up) and even his ending is both heartbreaking and pathetic.

#4

The Prodigal Women Nancy Hale (1942)

When this book came out in 1942 it spent 23 weeks on the NYT’s best-seller list.  Hale was wildly popular, wrote eight novels and was one of the most published writers in The New Yorker.  Today, she is largely forgotten.  This novel, a massive 900 pages, follows three women from childhood to adulthood.  Hale writes clearly about how love serves only to make a mess of people’s lives and then she proceeds to demonstrate that through the loves and marriages of her three main, well defined female characters whom she follows from childhood to adulthood.  I polished this novel off quickly and I believe I could have read another 1000 pages about these three women.  

#5

Tender Is The Flesh Augstina Bazterrica (2017/ 2020 Translation by Sarah Moses)

I’m not much into horror fiction, but I whipped through this novel in two days.  When a virus kills off all the animals, what can a meat eating world do?  Well, the answer becomes immigrants.  Suddenly countries welcome them and then butcher them for meat.  And if that sounds insane, I’m being kind.  This book is the most savage thing I’ve read (and I’ve read 20 Émile Zola novels).  Brutal and violent with hints of jet black humor which only makes this even more creepy.   And the biggest takeaway is morality flies out the window when...no, no spoilers here. 

#6

Right By My Side David Haynes (1993)

Marshall Field Finney is miserable.  His mother Rose has walked out of his life and left him with his father Big Sam, a garbage man who Marshall feels little affinity for.  Marshall didn’t much care for his mother either, but she was better than Big Sam.  Marshall’s best friends are Artie, who is in Special Ed and Todd, a PWT (Poor White Trash).  Nothing in poor Marshall’s life goes how he dreamed it would go and that makes it that much funnier.  David Haynes has written one of the great coming of age novels and it deserves reappraisal.  It shouldn’t matter that Marshall is black, his troubles (and solutions) are universal and laugh out loud funny.

#7

Main Street Sinclair Lewis (1920)

Carol Milford is a bright, articulate college graduate who loves art, theatre and literature.  When she marries a doctor who whisks her away to Gopher Prairie, Minnesota, she stands out and not in a good way.  People don’t like her and her college degree nor do they understand her love for the arts. Sinclair Lewis delivers a modern woman and it was a safe bet in 1920 people were shocked by just how modern Carol Milford was.  This take down of small town living is brilliant, funny and frustrating.  In the space of just two books Sinclair Lewis is now a favorite (It Can’t Happen Here made my Top ten last year).  Most of his works are sadly out of print and he is, despite the era, one of our most modern writers. 

#8

Killers of The Flower Moon: The Osage Murders and The Birth of The FBI David Grann (2017)

I read this before I saw the Scorsese film.  The awareness of who exactly is behind the murders is not revealed right off the start as it was in the film.  That grand revelation is saved for close to the end and it is a shocker.  But here’s an even bigger shocker:  the author does a 100 page coda in which he reveals that there were hundreds of other Osage Indians murdered for their oil rights, not just the family who the book (and movie) focus on. 

#9

In A Lonely Place Dorothy B Hughes (1947)

The Expendable Man Dorothy B Hughes (1963)

I’m not much of a mystery fan but these two novels by Dorothy B Hughes made me so excited that I couldn’t read them fast enough.  The first book was eventually made into a film starring Humphrey Bogart and Gloria Grahame.  Suffice it to say, it is way different from the novel (Hughes thought the film was excellent even if it was 95% different from the book).  The Expendable Man carries a twist that, as Eddie Muller said on a TCM promo about his favorite mystery writers, cannot be filmed.  I had to read the book to understand that.  Muller was right, that twist will color your take on this novel and make you crazy with worry. 

#10

A Frozen Woman Annie Ernaux (1981)

A Woman’s Story Annie Ernaux (1988)

Exteriors Annie Ernaux (1993)

Happening Annie Ernaux (2000)

The Years Annie Ernaux (2008)

Annie Ernaux is a French author who is called a memoirist, a term new to me until I read her work.  She writes about herself and her memories of her family.  She lays herself bare for everyone to see and sometimes I was often embarrassed for her, her honesty is that brutal.  And she never apologies for who she is.  In A Frozen Woman she condemns motherhood as completely unfulfilling, a statement that is almost unheard of out loud.  In A Woman’s Story she documents her mother’s decline and eventual death.  Exteriors sees Ernuax document the things we see daily that are meaningless and gives them the vibrancy they deserve.  Happening documents her abortion, a harrowing read that lays bare why banning abortion is a horrid crime against women.  The Years sees her document the march of time and all the things that have happened to our world since Ernaux was born.  She makes the case that it is all meaningless and completely unimportant.  Most of her books are in the range of 100 pages and demand to be read in one sitting. Ernuax is astonishing. 

Spine that is Missing In Action is Paul Murray's The Bee Sting, the cover seen below. (Since The New York Times called this one of their Best Books of the Year (and quoted yours truly about it) everyone wants to read this book. I had hoped to showcase that big spine because this is an 800 page book.)

[violenceviolette]

Members of the first French polar expedition as they sail towards Greenland, 1949 (from the documentary Ice Land).

[stephanedugast]

📌[ÉCHO] La bonne idée💡Paul-Émile Victor a été à l'honneur le lundi 16 septembre dernier à l'INSP - Institut national du service public - l'ex-ENA - sur le site historique de Paris.

👍Un événement qui ne devait rien au hasard car les élèves-fonctionnaires de la promotion 2024-2026 ont en effet choisi de baptiser leur promotion : Paul-Émile Victor.

💬 J'y ai activement participé avec :

📽️ La projection du film "Paul-Émile Victor. J'ai horreur du froid " (2019, 54 minutes).

🎙️ Un débat avec Daphné Victor, présidente du fond de dotation Paul-Émile Victor.

📚 Une soirée-dédicace du tome 1 de la série BD 💬 consacrée à l'explorateur Paul-Émile Victor. Mon premier scénario 📝

🛒 Commander votre album BD ⬇️ https://urlz.fr/qi8b

[moocportedoree]

La visite du Palais de la Porte Dorée

Chers neveux.

Je me suis rendu à l’Exposition Coloniale qui se déroule en ce moment à Paris, j’y ai vu d’extraordinaires beautés tant architecturales, artistiques et ethniques. Mais c’est le Palais de la Porte Dorée qui m'a le plus fasciné.

Paul, toi qui as vocation à être architecte, le bâtiment principal érigé dans le plus pur style Art Déco, à la pointe du savoir-faire français, devrait t’émerveiller. Une façade entièrement en bas-relief, derrière une colonnade rendue pratiquement invisible, tout ici est grandiose, comme le hall d’honneur et ses deux salons aux extrémités dont les murs sont recouverts de fresques, représentant l’Afrique et l’Asie, où nous œuvrons tant.

Émile, toi qui suis des études à l’École Boulle, le mobilier de ce palais devrait satisfaire ton goût pour les belles choses proposées aujourd’hui. Ces mobiliers structurés, avant-gardistes, conçus avec des matériaux exotiques vont te subjuguer.

Victor, l’ethnologue que tu es, trouvera peut-être que les représentations de ces différentes ethnies, sont empreintes de simplicité et que le trait est grossier, c’est surtout vrai pour l’Asie dont les civilisations sont aussi anciennes que les nôtres, et ont contribué elles aussi à l’avancée de nos sociétés.

A bientôt chers neveux, vous me raconterez vos impressions.

[imprimerielafraternelle]

Portraits Lycée de Morez

Cordée de la réussite

Le 2 février 2023, les lycéens du lycée Victor Bérard sont venus imprimer 4 affiches et une série de cartes postales après avoir travaillé autour du portrait en arts plastiques. Ils ont réalisé les portraits de 4 personnalités locales: Marguerite Syamour, Yvonne Clerc, Victor Bérard et Paul-Émile Victor.

Pour s’initier à la sérigraphie, ils ont en parallèle créé une série d’autoportraits mixés sur des formats cartes postales. 

[almanach2023]

Aujourd'hui, mardi 7 mars, nous fêtons Sainte Félicité.

SAINT DU JOUR . Félicité . Du latin félicitas, "bonheur" . Sainte Félicité(+203), Martyre. Mariée, esclave, elle fait partie d'un groupe de catéchumènes originaire de la région de Carthage (Tunisie). Elle est emprisonnée avec Sainte Perpétue, de bonne famille romaine. Pour avoir enfreint le décret de l'empereur Septime Sévère qui interdit les conversations religieuses, elle est jetée aux fauves. Les deux Saintes martyres sont mentionnées dans la première prière eucharistique. . Les Félicité sont fortes et attentives . Prénoms dérivés : Félicie, Felicity... Nous fêtons également les : Esterwin - Félicité - Mémin - Nevenoe - Nevenou - Nominoé - Saturus - Théophylacte Toutes les infos sur les Saints du jour https://tinyurl.com/wkzm328 Ils nous ont quittés un 7 mars : 7 mars 2010 : Patrick Topaloff, animateur, acteur et chanteur français (30 décembre 1944) 7 mars 2006 : Ali Farka Touré, musicien et chanteur malien (31 octobre 1939) 7 mars 1999 : Stanley Kubrick, réalisateur américain (26 juillet 1928) 7 mars 1995 : Paul-Émile Victor, explorateur français (28 juin 1907) Ils sont nés le 7 mars : 7 mars 1982 : Aarón Díaz, acteur et mannequin mexicain 7 mars 1980 : Laura Prepon, actrice et productrice américaine 7 mars 1971 : Rachel Weisz, actrice 7 mars 1967 : Amélie Pick, actrice 7 mars 1960 : Ivan Lendl, tennisman 7 mars 1952 : William Boyd, écrivain britannique 7 mars 1939 : Danyel Géard Toutes les naissances du jour https://tinyurl.com/msmk5e22 Fêtes, Célébrations, événements du jour 7 mars : Semaine des mathématiques (JM) CITATION DU JOUR Citation du jour : Je déteste les gens qui parlent d'eux quand j'ai envie de parler de moi. Oscar Wilde. Citation du jour : Je suis fatigué parton, fatigué de devoir courir les routes et d'être seul comme un moineau sous la pluie. Fatigué d'avoir jamais un ami pour parler, pour me dire où on va, d'où on vient et pourquoi. Mais surtout je suis fatigué de voir les hommes se battre les uns les autres, je suis fatigué de toute la peine et la souffrance que je sens dans le monde. Du film La Ligne Verte Toutes les citations du jour https://tinyurl.com/payaj4pz Nous sommes le 66ème jour de l'année il reste 299 jours avant le 31 décembre. Semaine 10. Beau mardi à tous. Source : https://www.almanach-jour.com/almanach/index.php

[librairiemelodieensoussol]

Paul-Emile Victor ~ pôle nord Collection Tout par l'image Hachette 1963 Nombreuses photographies Paul Eugène Victor, dit Paul-Émile Victor ou PEV, né le 28 juin 1907 à Genève et mort le 7 mars 1995 à Bora-Bora, est un explorateur polaire, scientifique, ethnologue, écrivain français, fondateur et patron des expéditions polaires françaises durant vingt-neuf ans. #librairiemelodieensoussol  #melodieensoussol #oiseaumortvintage #libraire #librairie #librairiemarseille #librairieparis #librairieindependante #librairieenligne #librairiedoccasion #livresdoccasion #bookstagram #booklover #paulemilevictor https://www.instagram.com/p/CoMg7UvMVgD/?igshid=NGJjMDIxMWI=

[the-paintrist]

Eugène Samuel Grasset (25 May 1845 – 23 October 1917) was a Swiss decorative artist who worked in Paris, France in a variety of creative design fields during the Belle Époque. He is considered a pioneer in Art Nouveau design.

Art Nouveau (lit. 'New Art') is an international style of art, architecture, and applied art, especially the decorative arts. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academicism, eclecticism and historicism of 19th century architecture and decorative art.

One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ('total work of art') that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.

The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta's work in Brussels and applied the style to the entrances of the new Paris Métro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé.

From Britain, Belgium and France, Art Nouveau spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain).

By 1914, with the beginning of the First World War, Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism. The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970.

Eugène Grasset.