#grandval

[kickdrumheart68]

sophie grandval -- dandelions

[buttressarcade]

Les Choux

Créteil

Architect: Gérard Grandval

[kiki-de-la-petite-flaque]

"Dandelions" (1990) by French artist, SOPHIE GRANDVAL, (b.1936).

Sophie Grandval started her career as a textile designer, working for names such as Givenchy, Dior, Balanciaga, Balmain, and Deusse.

In 1958 she exhibited at the Galerie des Beaux Arts in Paris fabric designs.

She started painting in oil and watercolour, and in 1961 had her first one-woman exhibition at the Galerie Durand, followed by another one ten years later at the Galerie Delpire, both in Paris. At both shows, all paintings were completely sold out during the preview evening.

An account of her told by renowned art dealer, Oliver Hoare:

"I first met Sophie Grandval in Paris in the mid-1960s, when I was a student and she was already a legend. Her first exhibition had caused a sensation, and every painting sold on the opening night. They have a powerful, naïve magic about them that seems to enchant all who look at them. She worked mainly in oils, but when Rachel 'Bunny' Mellon, the American horticulturalist, gardener, philanthropist, and art collector commissioned her to paint all the vegetables and plants in the King’s Vegetable Garden at Versailles in the early 1970s, she turned to watercolour.

In 1973 she moved to Bath. Her rooms there were extraordinarily atmospheric, festooned with dried flowers, strange gee-gaws, illustrations from magazines and books, and perfumed with the pungent aroma of hashish. On one visit she informed me that the previous evening she had been drinking in a pub when she realized that the Devil was sitting on the bar-stool next to her. This news was so surprising that I missed the opportunity to ask her what he was drinking."

Her work is to be found in prestigious collections such as those of Mrs Mellon, Givenchy, Dior, Cacharel, President Mitterand, and King Charles.

[art-portraits]

Portrait of the Actor Grandval

Artist: Nicolas Lancret (French, 1689–1743

Date: circa 1752

Medium: Oil on Canvas

Collection: Indianapolis Museum of Art, Indianapolis, Indiana

Description

Lancret's interest in the stage, evident in his insightful portraits of actors and dancers, may derive from his early training in the studio of Claude Gillot, director of scene designs and costumes for the Paris Opera. In this portrait of the actor Grandval, one of the best known performers of 18th-century Paris, Lancret alludes to his renowned ability to perform both tragic and comic roles. Grandval stands in an imaginary garden in front of a statuary group that represents Thalia, the Muse of Comedy, and Melpomene, the Muse of Tragedy.

[adeaver]

[noconcessions]

[sarahtheflutist]

Clémence de Grandval

Suite for Flute and Piano

Prelude

Scherzo

Menuet

Romance

Finale

[thevaultoftheatomicspaceage]

Les Choux de Creteil by Gerard Grandval

[frenchcurious]

Les Choux de Créteil, dix bâtiments cylindriques avec des balcons en forme de choux, en banlieue parisienne. Achevés en 1974. Conçus par l'architecte Gérard Grandval. (Photo c. 1974). - source The Modernist Collection.

[worldsandemanations]

Les Choux de Créteil Paris, designed by Gerard Grandval

[tournevole]

Sophie Grandval - Dandelions, 1990

[lesser-known-composers]

Camille Saint-Saëns (1835-1921) - Four Orchestral Songs

1. Rêverie (1851) (0:00) Poetry: Victor Hugo (1802-1885)

2. Extase (c. 1860) (2:52) Poetry: Victor Hugo Dedication: à Madame Marie Delessert

3. L'attente (c. 1855) (6:48) Poetry: Victor Hugo Dedication: à Mademoiselle Marie Reiset (Clémence de Grandval)

4. Angélus (1918) (8:34) Poetry: Pierre Aguétant (1890-1940) Dedication: à Monsieur Plamondon

Yann Beuron, tenor (#2) Tassis Christoyannis, baritone (#1, 3 and 4) and Orchestra della Svizzera Italiana conducted by Markus Poschner

[mybeingthere]

Sophie Grandval (b 1936), after completing her art training, started her career as a textile designer, working for such famous names as Givenchy, Dior, Balanciaga, Balmain and Deusse.

In 1958, she exhibited at the Galerie des Beaux Arts in Paris fabric designs. At the suggestion of Lucien Durand, she started painting in oil and watercolour, and in 1961 had her first one-man exhibition at the Galerie Durand, followed by another one ten years later at the Galerie Delpire, both in Paris. At both shows, all paintings were completely sold-out during the preview evening.

She was then approached to do illustration work for Peter Knapp, the well-known art director for “ELLE” magazine, and in 1973 she moved to Bath to execute a series of botanical illustrations for the renowned American collector Mrs Paul Mellon.

https://www.chauchet.com/artists/sophie-grandval/

[trixie-and-ames]

Sophie Grandval

[thekpax]

Visual Innovations in Carolingian Manuscripts

Carolingian manuscripts are among the earliest surviving examples of Western sequential art. These illuminations from the eighth and ninth centuries demonstrate unique storytelling solutions that speak to the ingenuity of their artists. Indeed, the monks at Tours and Reims did not simply copy their early Christian prototypes, but devised original works that would resemble the five principles of modern visual storytelling: timing (or implied action/encapsulation), “the frame” (or the organization of visual elements), imagery (typology), expressive anatomy (acting), and image-text interdependence (captions). 

Take the Moutier-Grandval Bible, for example. Painted around the year 840, it contains four registers per page and depicts nine distinct scenes from the book of Genesis. The separated panels organize the visuals, drawing the eye from left to right and implying the passage of time. Likely inspired by Trajan’s Column, this technique was a novel application of the principles of timing and “the frame” to the page. While no text existed alongside the imagery, the artists of Tours provided summaries of the illustrations they preceded. 

Some scriptoriums, however, were more confident in their visual storytelling abilities than others. The Reims school of illumination relied on the principle of imagery to communicate stories with symbolism that would have been well-known to the people of the time. Utrecht Psalter, a work dated somewhere between 816 and 835, did away with frames in favor of energetic compositions directly above, below, or even in-between corresponding passages. This resulted in manuscripts imbued with energy and agitation, essential qualities associated with expressive anatomy that is a cornerstone of the Reims style.

When examining the differences between the schools of Tours and Reims, it is important to remember they enjoyed access to similar source material. They are united by a common thread: their innovations in communicating a visual narrative. How they differed in execution is where creative ingenuity lies.

[dipstick-university]

Rainbow Couch (1972) Gerard Grandval