#salon pierre michel

[chicinsilk]

Harper's Bazaar August 1991

Cordula Reyer wears a swingy white angora coat over a black stretch velvet turtleneck sweater and gray flannel pants. All by Louis Dell'Olio. Hairstyle Lindy king for Salon Pierre Michel, makeup, Paul Starr. Cordula Reyer porte un manteau swingy en angora blanc sur un pull col roulé en velours stretch noir et un pantalon enflanelle gris. L'ensemble par Louis Dell'Olio. Coiffure Lindy king pour le Salon Pierre Michel, maquillage, Paul Starr. Photo Matthew Rolston

[ropebuny]

could you please post a list of kinky movies???

other than Secretary cause I already know that one haha

I actually haven’t seen that one yet ! it’s been on my watchlist for forever, I need to get around to watching it. and I haven’t actually seen many kinky or erotic movies unfortunately, so pls ignore how bad this list is but. I did my best ok. also pls keep in mind I haven’t seen every single one of these listed movies yet but I added them because their descriptions seemed to fit in here

bloodsisters: leather, dykes, and sadomasochism (1995) dir. michelle handelmann

videodrome (1983) dir. david cronenberg

crash (1996) dir. david cronenberg

from beyond (1986) dir. stuart gordon

good boy (original title: meg, deg & frank) (2022) dir. viljar bøe

belle de jour (1967) dir. luis buñuel

blue velvet (1986) dir. david lynch

the night porter (1974) dir. liliana cavani

venus in fur (2013) dir. roman polanski (🤢🤢🤢🤢)

venus in furs (1969) dir. massimo dallamano

sleeping beauty (2011) dir. julia leigh

the slave (1969) dir. pasquale festa campanile

liza (1972) dir. marco ferreri

the laughing woman (1969) dir. piero schivazappa

the forbidden photos of a lady above suspicion (1970) dir. luciano ercoli

the punishment (1973) dir. pierre-alain jolivet

successive slidings of pleasure (1974) dir. alain robbe-grillet

the story of o (1975) dir. just jaeckin

crimes of passion (1984) dir. ken russell

tightrope (1984) dir. richard tuggle

seduction: the cruel woman (1975) dir. elfi mikesch, monika treut

tie me up! tie me down! (1989) dir. pedro almodóvar

female misbehavior (1992) dir. monika treut

bitter moon (1992) dir. roman polanski (🤢🤢🤢🤢)

basic instinct (1992) dir. paul verhoeven

bound (1996) dir. lilly & lana wachowski

strictly speaking (1998) dir. kirk demorest

tops & bottoms (1999) dir. christine richey

first love (2004) dir. matteo garrone

s&m judge (2009) dir. erik lamens

be my slave (2012) dir. tōru kamei

kink (2013) dir. christina alexandra voros

wetlands (2013) dir. david wnendt

folsom forever (2014) dir. mark jensen

mr. leather (2019) dir. daniel nolasco

saint-narcisse (2020) dir. bruce labruce

divinely evil (2020) dir. gustavo vinagre

I cut your flesh (2020) dir. samhel

the pleasure of rope (2015) dir. bob bentley

fetishes (1996) dir. nick broomfield

venus in furs (1995) dir. maartje seyferth, victor nieuwenhuijs

new love in tokyo (1994) dir. banmei takahashi

the bedroom (1992) dir. hisayasu satō

beyond vanilla (2001) dir. claes lilja

the piano teacher (2001) dir. michael haneke

salon kitty (1976) dir. tinto brass

the duke of burgundy (2014) dir. peter strickland

pvt chat (2020) dir. ben hozie

in the basement (2014) dir. ulrich seidl

leap year (2010) dir. michael rowe

fruits of passion (1981) dir. shūji terayama

o fantasma (2000) dir. joão pedro rodrigues

a snake of june (2002) dir. shinya tsukamoto

islands (2017) dir. yann gonzalez

querelle (1982) dir. rainer werner fassbinder

sex, lies, religion (1994) dir. annette kennerley

love (2015) dir. gaspar noé

moonlight whispers (1999) dir. akihiko shiota

cruising (1980) dir. william friedkin

trans-europ-express (1966) dir. alain robbe-grillet

[artemlegere]

A Sunday Afternoon on the Island of La Grande Jatte

Artist: Georges Pierre Seurat (French, 1859-1891)

Subject: People relaxing at la Grande Jatte in Paris

Date: 1884-1886

Medium: Oil on Canvas

Location: Art Institute of Chicago, Chicago, Illinois

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) was painted from 1884 to 1886 and is Georges Seurat's most famous work. A leading example of pointillist technique, executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. It is held in the collection of the Art Institute of Chicago.

Background

Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park and concentrating on issues of colour, light, and form. Seurat completed numerous preliminary drawings and oil sketches before completing his masterpiece.

Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, at the paintings edge, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited at the Art Institute of Chicago.

The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it has become the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center.

The painting was first exhibited at the eighth (and last) Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884. Seurat was extremely disciplined, always serious, and private to the point of secretiveness-for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.

[galleryofart]

A Sunday Afternoon on the Island of La Grande Jatte

Artist: Georges Pierre Seurat (French, 1859-1891)

Subject: People relaxing at la Grande Jatte in Paris

Date: 1884-1886

Medium: Oil on Canvas

Location: Art Institute of Chicago, Chicago, Illinois

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) was painted from 1884 to 1886 and is Georges Seurat's most famous work. A leading example of pointillist technique, executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. It is held in the collection of the Art Institute of Chicago.

Background

Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park and concentrating on issues of colour, light, and form. Seurat completed numerous preliminary drawings and oil sketches before completing his masterpiece.

Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, at the paintings edge, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited at the Art Institute of Chicago.

The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it has become the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center.

The painting was first exhibited at the eighth (and last) Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884. Seurat was extremely disciplined, always serious, and private to the point of secretiveness-for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.

[lafcadiosadventures]

Madame Putiphar Readalong. Book Two, Chapter XXVI, second half.

Pastel Hued Rococo Horror

"La femme d’un charbonnier est plus estimable que la maîtresse d’un Roi.", original illustration by Michele Armajer, second edition of Madame Putiphar.

Putiphar is wrong in her perhaps Rousseaunian suppositions. In Patrick’s case, not all loves are brothers. To prove her wrong he “treats” her with a long and minute translation of the Irish song into french. It is not a love song, but a war ballad (and, it’s a real song, @sainteverge found the original lyrics and you can read them in their translation) it is a long, long history ballad about scottish and irish clans, so long that when Patrick is finally done translating dinner is served. (Nothing against the song itself it’s just hilarious how much of a reach pompadour had to make to fool herself into thinking it was a love song, but admittedly, horniness is a hell of a drug) I can imagine Pompadour desperately trying and failing to bring the mood back to sexy. Her chance finally springs up when dinner is announced and she can bring Patrick’s attention to her outfit

Pomps appologizes for feeling “too lazy”to dress properly, she is still wearing her sheer white robe de chambre, a so called laisse-tout-faire -> don’t need to spell out what is that “tout” which the crotchless, petticoatless and drawersless robe allows to do here. (Borel’s narrator plays the puritan apologizing for mentioning such impudic garments, but he has to, because, in a way that single word sums up the decadence of a whole epoch or something (Borel mentions two linguists here: Pierre Borel, and Ménage. This is fun because Borel has a witty and contrived way of saying the meaning of the expression is obvious: laisse-tout-faire is not a word that will torture the pierre borels and menages of the future, Borel scribbles, while he crafts words and expressions that will indeed torture future translators and linguists. in the best possible ways.)

So: once dinner is announced, they leave the boudoir and step into another room whichis a puzzle in itself. What is it? A salon? A bedroom? Another boudoir? The room is filled to the brim with all kinds of furniture, beds, bookshelves with the latest Enlightenment hits, sofas, a table. The bric-a-brac makes it almost impossible to walk around the table, the rococo horror vacui becomes an impediment to circulation, almost as if it’s designed to trap Putiphar’s intended sacrificial lambs after an intoxicating meal. (only now Patrick begins to envision that Putiphar has some projects for him, yes, even after all her writhing, boob groping and verbal insinuations. He finally notices that he is physically trapped as well. Her plans are basically abduction and sexual assault) There are also no visible doors since they are all covered with gobelins. And even if he could physically escape, he thinks, he could never run away from her resentment. He realizes like Cellini before him, that the queen/pompadour’s sex is a trap where both sleeping with her, or rejecting her are deadly choices, because the power imbalance is too vast. (Patrick has more moral concerns than Cellini, who is basically his diametrical opposite)

Patrick suddenly begins to notice he needs to sit down because he has had too much to drink, and that he is not only trapped, but utterly alone with her. He is scared and disgusted with her secret plotting, and feels guilty and stupid for having accepted her invitation. Feeling tired, heavy, intoxicated and scared, weighted down too by the realization that all his possible choices are potentially deadly, and that he cannot physically leave the horror-vacui roccoco funhouse death trap, he lets Fate chose for him. He will rely on his instinctual responses and puts himself in the hands of God. (or his conscience)

The castle and the witch are trying to eat Patrick alive, Putiphar is in full fledged Hansel and Gretel witch mode, she is pumping wine and aphrodisiacs into Patrick, who drinks and eats as little as he can without being overtly rude. The arousal he felt at the beginning of the chapter is totally gone. Her lies and intentions to get him by force and treachery disgust him. Yet he shows himself bold and spontaneous. This slightly offends her, since she can no longer attribute his codlness to shyness or inexperience. It’s a masks off moment for both of them.

(in terms of form of the novel, Borel includes some Spanish expressions here like vino rancio, and alcahueta. Spanish culture shows up in the form of something delicious, the wine, that Patrick manages to resist, which shows his strength, and to name the royal pimp, perhaps with a less decorous word than what he could have afforded to include in french? Like his use of carajo in Champavert, but not foutre/vit, for example)

She still hopes to seduce him though, she tries the method she uses on Pharao. Like a character in Crébillon’s The Sofa, where a monarch forces guests to tell him stories, (just like in the 1001 nights, but more relevant to our novel about the crimes and power abuses of the powerful, just like the king and Pompadour had Sartine did as we will see) She instead forces dirty gossip of the royal family and all the courtiers into Patrick’s ears. (Borel beings up a connection between the royal pimp, the “alcahueta de la corte” La Gourdan, and Sartine, the head of the secret police. This is historical fact, some of the police reports are still existent, what is questioned and possibly a myth is that Pompadour started this not to control the other courtiers, but to incite a sexual partner that was increasingly harder to please, which sounds of course, too naif to be real. (I’ll include bellow a letter on Gourdan which I’d wager is one of Borel’s source for all of this)

It’s fascinating that, in complete accordance to the rumours, these sexual stories have both an erotic and a punitive function, the courtiers use them for their own amusement, but they also have their pimps work closely with cops to ensure they can wield power through them. (They are basically fapping to police reports. Allegorically fascinating and disgusting) But the stories lack their desired effect. Patrick is neither aroused or amused, he is disgusted. She orders more champagne, but Patrick says he’s not a drinking man. It would be “monstrous” of him not to have any vices, she claims, lacking “passion” would make him inhuman. (note here, how a man who lacks addictions/inclinations that are deemed perverse and thus condemned, because that’s the way Pompadour frames it, is someone who she cannot subjugate by the sartine/gourdan method)

Patrick enjoys things but is addicted to none, and has none of the modern “vices” he doesn’t gamble, he can drink, dance and go to the theatre but he wouldn’t die if he had to do without those things. He is not an addict, he cannot be trapped by vicies like the courtiers The King, Pompadour, Sartine and la Gourdan surveil. Pompadour grows impatient: "Who do you love?", she asks. "I love women". And she continues her guessing game, and is so vain that when Patrick claims to love one women above all the others, who is young, beautiful and noble, she calls him a flatterer since she thinks he means her. Putiphar wants to take Debby’s ring (an old and austere relic) from him and give him a shiny new one. He refuses it since he loves Deborah, she calls her cruel, but insists on the gift, and in making him her lover. He still refuses, he cannot have two loves. He cannot divide the same love in two either (the literary/cultural theme of carnal versus holy love, divided between the angel in the hearth and the mistress) as Pompadour suggests. But Patrick still rejects her. She is indeed insulted by that open refusal, and by Patrick’s mention of Love, that is not what she wants from him. In her rage, she remembers the ace up her sleeve, which she was willing to forget if Patrick had flattered her and accepted to become her lover and her plaything: The murder conviction, his status as a fugitive from the Law. The die is cast. Left with nothing to lose, Patrick dares recall that Pompadour’s father is also someone who evaded the law, but thanks to her power and status, all of that was forgotten. The chief difference is Patrick is actually innocent, but he has no powerful protectors, (and in fact was incriminated by aristocrats) so he’ll have to pay for the crimes of another, while Pompadour’s father was indeed guilty, but given his status he’s safe from the law (once again, the theme of the law as definitely not blind and equal for all) Outraged, Putiphar calls for her men, but Patrick has the last laugh:

“Woah there! messieurs, calm down! Please wait, I still have a word to say to madame,” shouted Patrick! and, taking from the bookshelf a volume of the New Eloisa, he flipped a few pages, and added: “This word I have to say is not mine, it is that of the citizen of Geneva; here it is: “A coalman’s wife is more estimable than a king’s mistress.”

 (tr. by sainteverge )

When the lackeys attempt to grab him, Patrick draws his sword. He leaves the palace in his own terms. His attempt at bonding with the aristocracy are forever broken, since it was impossible to have them without degrading himself. It was required of him to cheat on his wife, to have sex against his wishes, to renounce to his citizenship, to adapt his tastes and opinions to those of the ruling class, to accept surveillance by Sartine, and so on. Patrick will probably not survive this book, but he values his integrity higher than his mere survival. He starts (like many other Romantic characters), his own glorious defeat arc, a kalos thanatos, death before living by rules that rot the soul.

***

Here’s an annex on La Gourdan by Théveneau de Morande, (apparently a french spy and blackmailer himself, living in London in the 18th c) found in his compilation of Gourdan’s correspondence for the Jean Nourse 1784-1866 London edition. I would wager Borel read this, not only it is cited in most papers on this subject, and the dates match, but also Morande calling Gourdan The Priestess of Cytherea, -a less popular name for Aphrodite that Borel uses in this very novel- makes me extra confident in this conjecture. Relevant quote on Sartine’s gazette and spying in the high class brothels here:

“(...)il faut que vous sachiez, mylord, que les lieux de débauche de cette capitale ne sont pas simplement comme nos bagnos à Londres : ils sont ici d'institution politique. Celles qui y président, par essence espionnes de la police, tiennent un registre exact de toutes les personnes qui viennent chez elles, et entrent à cet égard dans les détails les plus particuliers qu'elles peuvent apprendre. Vous sentez combien ils doivent être amusants. C'est sous le feu roi, et surtout à la fin de son règne, que cet historique du libertinage de la capitale était fort recherché. On assure que le magistrat chargé de cette partie en dernier lieu (Sartine, according to the footnotes) donnait une attention particulière; qu'il occupait journellement un secrétaire de confiance très-intime à rédiger de ces divers matériaux une gazette galante et luxurieuse, et que le monarque et sa maîtresse (Pompadour) en faisaient leurs plus chères délices. Le lieutenant de police d'aujourd'hui n'a pas cet avantage. Le jeune prince, ami des moeurs, rejetterait avec indignation une chronique aussi scandaleuse; il rougirait des turpitudes qu'on y dévoile. Mais ces archives d'horreurs et d'infamies n'en subsistent pas moins, comme pouvant servir à diriger le ministère dans quantités d'opérations sourdes, à lui fournir le fil de beaucoup de choses et le secret de presque toutes les familles. La dame Gourdan, par l'étendue de son commerce et par ses pratiques distinguées, devait être plus recommandable qu'une autre au gouvernement. C'est ce qui excite la curiosité des amateurs, soit pour découvrir dans son journal bien des gens qu'on ne se doutait pas d'y trouver, soit dans la crainte de s'y voir inscrits eux-mêmes. De quelque manière que le procès tourne, on espère, au surplus, qu'une femme aussi importante ne sera que suspendue dans l'exercice de son ministère et qu'elle le reprendra incessamment. On sait qu'elle a déjà réclamé les bontés des personnages en place les plus éminents ; on dit même Pompadour qui, pour dissiper l'ennui de son auguste amant, avait imaginé cette gazette(...)”

There's also this article on Pompadour and the court's policing of sex, and sexual rumours as a political tool to manipulate the public opinion. It covers some of Borel’s sources (La Bastille devoilé), some of the rhetorical strategies he uses in this chapter, like orientalizing the french despot.

(also thanks to this article I learnt that Les bijoux indiscrets is an allegory of all that policing of sex at Versailles. That makes young Diderot's choice of an oriental setting less about exotism and fantasy -although that is definitely there- and more about making the analogies with the french court less obvious >_>)

@counterwiddershins

[crimson-veil-rpg]

RÉSERVATION DE FACECLAIMS

Les réservations de faceclaims sont désormais ouvertes, vous pouvez vous rendre dans le salon discord concerné ou nous contacter via tumblr. En cas de doublon, lea permier.e arrivé.e sera lea premier.e servi.e.

Extrait du règlement du forum concernant les faceclaims : Il est impératif de respecter l’ethnie et le genre de votre faceclaim (en vous informant sur ses origines (qui ne sont pas interchangeables), ses pronoms ou son éventuelle transidentité). Quant aux âges, nous autorisons un écart de 5 ans (avec quelques exceptions possibles comme d’anciens shooting, des acteur.ices dans leur jeunesse, etc.).

¨:·. .·:¨ ¨:·. ☾ .·:¨ ¨:·. .·:¨ ¨:·. .·:¨ ¨:·. ☾ .·:¨ ¨:·. .·:¨

Adria Arjona — bliss Alice Pagani — elysion Andrew Scott — knick Anya Taylor-Joy — phyla Byeon Woo-seok — tragisk helt Cillian Murphy — vorpal Daniel Brühl — writerinafoxhole Daria Sidorchuk — gallinacée Elizabeth Debicki — guimauve Ella Purnell — nhevele Emilia Clarke — léa Emma d’arcy — rasp Felix Lee — llwynog Freya Allan — rosies Hailey Atwell — sammix Hunter Schafer — totone Jennifer Cheon Garcia — glitchyotter Jensen Ackles — h0neyy Jeremy Allen White — mos Jimmi Simpson — corvidae (staff) Keanu Reeves — ausländer Kevin Creekman — Spatule Kristine Froseth — serizawa Lupita Nyong'o — pentacles Mads Mikkelsen — carcosa Michelle Yeoh — awona (staff) Michiel Huisman — andronicus Millie Brady — alice lee Monica Bellucci — étangs noirs Nicola Coughlan — gin Peter Capaldi — sokosid (staff) Pierre Niney — eme Raphaël Personnaz — soeurdelune Swann Arlaud — Eclipse Theo James — nunustradamus Tom Glynn-Carney — kyōjurō Vika Bronova — Enaellia Zhang Ziyi — ju

[jamesdsass]

One of the world's rarest and most expensive books, still highly mysterious, and before its exhibition at CFM Gallery, known only to a small group of bibliophiles and collectors.

The Apocalypse of Saint John

L'Apocalypse de Saint Jean

A Uniquely Illustrated Version of The Book of Revelation.The End of The World as Envisioned by Eight of the 20th Century's Greatest Artists.

PROVEN: The Apocalypse is Real.

Since its introduction in 1961, Joseph Foret's "L'Apocalypse de Saint Jean," has stirred the imagination of both the art world and the esoteric world of the book collector.

Conceived as "the most expensive book in the world," the single copy of "L'Apocalypse de Saint Jean," sold for an astonishing $1,000,000.00. With a cover of bronze encrusted with precious stones sculpted by Salvador Dali, original artwork by Dali, Leonor Fini, Bernard Buffet, Leonard Foujita, Pierre-Yves Tremois, Ossip Zadkine and Georges Mathieu, there are also original graphics by Jean Cocteau, Michel Ciry, Frederic Delanglade, Ernest Fuchs, Roger Lersy and Pierre-Yves Tremois. The book weighs 463 lbs. and is completely hand calligraphed. In addition to Saint Jean's text there is further writing by Jean Cocteau, Daniel-Rops, Jean Guitton, Jean Rostand, E.M. Cioran, Jean Giono and Ernst Junger.

The entire book was realized on a special hand-made parchment created solely for the project. "L'Apocalypse," encased in a plastic bubble, was exhibited around the world before it ended up in a Swiss vault, the property of a syndicate of French, Belgian and German art dealers. It is currently - according to educated lore - resting in a vault in Japan. It has not been seen publicly since 1962.

The exhibition catalog mentions "Seven copies for seven 'fervent' collectors worldwide." Although a handful of people over the years had claimed to have actually seen one of the copies, no one was able to prove their existence. The fabled copies became a holy grail for book collectors, art dealers and experts of all persuasions.

Each book was advertised as being on different types of paper; Parchment, Silk, Japon nacre, Japon imperial, white Velin d'arches, tinted arches and Velin de Rives B.F.K. Each would be contained in silk covered slipcases in seven different colors; Violet, Burgundy, Blue, Green, Yellow, Orange and Red. An additional "Publishers Copy" would be on B.F.K. Rives in a red case.

After extensive searching for an actual copy - and literally years of research - not one, but two copies dropped out of the sky into the possession of Neil Zukerman, owner and director of CFM Gallery, who can finally, unequivocally, state that the copies do exist.

Included in the find is an incredible multi-media collage by Dali. The watercolor and ink includes gold caps, screws, nails, tacks, a St. Christopher medal and watch parts. The paper has been scorched, hammered, had a shotgun fired at it and was otherwise stressed by Dali. During the years from 1962 until 2002 it was closed up in a book on a shelf of publisher Joseph Foret. It will be exhibited for the first time at CFM Gallery's presentation of "L'Apocalypse de Saint Jean" in October of 2003.

Joseph Foret is considered one of the foremost publishers of Livres d'Artistes (artist's books). He has presented important works by works by Picasso, Utrillo, Cocteau, Dali, Delanglade, Buffet and Carzou. Foret is perhaps best known as the publisher of "La Divine Comedie" by Dante Alighieri, which includes 100 wood block prints by Salvador Dali.

The "Red Silk" copy was lent by CFM to the "Apocalisse L'ultima rivelazione" exhibition in Allegio, Italy at the Casa delle Espozioni, 4/28 thru 9/30, 2007. It then travelled to The Vatican where it was exhibited in the Salone Sistino from 10/4 to 12/25, 2007.

http://www.cfmgallery.com/Apocalypse/Apocalypse.html

[elevagedubellay]

100%

La séquence des ventes a pris fin ce mardi 26 septembre à Caen. Les 3 poulains présentés ayant trouvé acquéreurs, nous avons vendu tous les poulains et pouliches présentés cette année.

Merci à Jean-Michel Chassaing ( Mafate), au Haras d'Hautise (Môme) et à Sophie Guérin et Jérémy Marivint (Mambo) pour leur confiance, nous suivrons bien sûr l'évolution de ces poulains avec la plus grande attention.

Lundi 25 à Marseille, Haltea a fini première des chevaux des 25m mais ceux-ci s'étant fait "endormir" par les chevaux de tête, elle ne finit que sixième. C'était probablement la dernière course d'Haltea, jument de qualité, très régulière qui aura gagné 78 000€ en carrière, marché 13'6 et remporté deux courses, la plus belle à Cabourg avec Cédric Mégissier. Elle va maintenant retrouver le haras où son papier et ses performances vont forcément naître de grands espoirs pour sa carrière de poulinière.

Mercredi au Mont Saint Michel les résultats sur le papier n'ont pas été bons (comme attendu) mais porteurs de belles promesses: Haïda a fait une super course de rentrée en marchant 14'9 sur 2700m (7ème) et Kid Bellay a fait une bonne fin de course après être resté en queue de peloton toute la course. Il faudra le suivre de près le 17 octobre à Vincennes.

Dimanche 1er octobre à Alençon, Kerria du Bellay s'est retrouvée coincée à la corde et s'est retrouvée loin au moment de l'emballage final. Elle a correctement fini mais se contente de la septième place. Un bon boulot on va dire. Elle va rejoindre les boxes d'Eric Audebert pour essayer de trouver des courses plus faciles.

Lundi 2 octobre, Grazia n'est pas parvenu à se relancer à Castéra Verduzan (8°).

Mardi 3, Laria devra patienter pour obtenir sa qualification. La pouliche s'était mis un coup au paddock et n'était pas tout à fait souple.

A VENIR

Samedi 7 octobre à Salon de Provence, Jericho du Bellay et David Bekaert tenteront de profiter de leurs belles formes respectives pour profiter de ce très bon engagement.

Le même jour à Cluny Icare du Bellay et Pierre Callier partiront avec moins de certitudes mais de petites ambitions tout de même.

Dimanche à Durtal, Kalinka aura un bon engagement pour enchaîner après sa troisième place.

Lundi c'est à Nuillé sur vicoin qu'Itea tentera de faire oublier ses dernières sorties très décevantes.

Et mardi, Haïda fera sa deuxième course de rentrée en amateur à Vincennes.

[revesdautomobiles]

[chicinsilk]

Harper's Bazaar August 1990

By Calvin Klein. Left: Olive and black plaid fitted wool jacket, beige cashmere wrap skirt and crewneck. Right: Charcoal wool and cashmere single-breasted jacket with brown and white plaid, brown lambswool and cashmere wrap skirt and crewneck sweater. Hair by Harry King for Salon Pierre Michel, Makeup by Mariella Smith Masters for Vartali.

Models: Kristen Noel & Lisa Fallon.

Par Calvin Klein. À gauche : veste ajustée en laine à carreaux olive et noirs, jupe portefeuille en cachemire beige et pull ras du cou. À droite : veste droite en laine et cachemire anthracite à carreaux marron et blancs, jupe portefeuille en laine d'agneau et cachemire marron et pull ras du cou. Coiffure par Harry King pour Salon Pierre Michel, maquillage par Mariella Smith Masters pour Vartali.

Photo J.R.Duran

[the-paintrist]

Louise-Adéone Drolling - Portrait of a child in a room - 

Louise-Adéone Drölling, also known as Madame Joubert (29 May 1797 – before 30 April 1836) was a French painter and draughtswoman. Both her father, Martin Drolling, and her older brother, Michel Martin Drolling, were celebrated artists in their day.

Louise-Adéone Drölling was born 29 May 1797. At about age 10, she modeled for her father for the small Portrait of the Artist's Daughter (Musée Magnin, Dijon), and later, at about age 15, for the life-sized Portrait of Adéone (Musée des Beaux-Arts, Strasbourg). Around this time, she was encouraged by her father to begin a career in painting.

In 1819, Louise-Adéone married the architect Jean-Nicolas Pagnierre. She became a widow in 1822 and remarried four years later, in 1826. With her second husband, chief tax officer (octroi) of the city of Paris, Nicholas Roch Joubert (son of politician and former bishop Pierre-Mathieu Joubert ), she had two daughters, Adéone Louise Sophie, and Angélique Marie.

In 1827 and 1831 Louise-Adéone's paintings were exhibited in the Salon des Amis des Arts. For one of her works, Interior with Young Woman Tracing a Flower, she received a gold medal and the work was displayed at the Gallery of La Duchesse de Berry. Her date of death was for a long time uncertain and thought to be either 1831 (the year of her last recorded artistic activity), or 1834; but as it turned out, the list of her belongings after her death (inventaire après décès) was made on 30 April 1836, meaning that she had died shortly before that date.

Drölling was not a prolific artist, as she admitted herself in a letter from 1828; the inventory after her death mentions only a dozen of works. Having been taught by her father (who had also been the teacher of her brother), she practiced a highly skillful but very traditional art; thus, some of her paintings and drawings have been attributed to either of both men, and vice versa. In addition to the two portraits he painted of her, Martin Drolling used Louise-Adéone's recognizable, brown-haired and blue-eyed features in several of his later paintings. Conversely, no self-portrait of Drölling has as yet been identified.

[alexlacquemanne]

Octobre MMXXII

Films

Les Acteurs (1999) de Bertrand Blier avec André Dussollier, Jacques François, Sami Frey, Jean-Pierre Marielle, Michel Piccoli, Claude Rich et Josiane Balasko

Histoire vraie (1973) de Claude Santelli avec Pierre Mondy, Marie-Christine Barrault, Denise Gence, Claude Brosset, Isabelle Huppert et Danielle Chinsky

Le Passager de la pluie (1970) de René Clément avec Marlène Jobert, Charles Bronson, Annie Cordy, Jill Ireland, Ellen Bahl et Steve Eckhardt

Les hommes préfèrent les blondes (Gentlemen Prefer Blondes) (1953) de Howard Hawks avec Jane Russell, Marilyn Monroe, Charles Coburn, Tommy Noonan et Elliott Reid

De l'or en barres (The Lavender Hill Mob) (1951) de Charles Crichton avec Alec Guinness, Stanley Holloway, Sydney James, Alfie Bass, Marjorie Fielding et Audrey Hepburn

La Gueule de l'autre (1979) de Pierre Tchernia avec Michel Serrault, Andréa Parisy, Jean Poiret, Bernadette Lafont, Curd Jügen, Roger Carel et Georges Géret

Invasion of the Body Snatchers (1956) de Don Siegel avec Kevin McCarthy, Dana Wynter, King Donovan, Carolyn Jones et Larry Gates

Simone, le voyage du siècle (2022) d'Olivier Dahan avec Elsa Zylberstein, Rebecca Marder, Élodie Bouchez, Judith Chemla, Olivier Gourmet, Mathieu Spinosi et Sylvie Testud

Adieu l'ami (1968) de Jean Herman avec Alain Delon, Charles Bronson, Olga Georges-Picot, Brigitte Fossey, Bernard Fresson et Jean-Claude Balard

Itinéraire d'un enfant gâté (1988) de Claude Lelouch avec Jean-Paul Belmondo, Richard Anconina, Marie-Sophie L., Jean-Philippe Chatrier, Lio, Daniel Gélin et Béatrice Agenin

Joyeuses Pâques (1984) de Georges Lautner avec Jean-Paul Belmondo, Sophie Marceau, Marie Laforêt, Rosy Varte et Michel Beaune

À bout portant (The Killers) (1964) de Don Siegel avec Lee Marvin, Angie Dickinson, John Cassavetes, Clu Gulager, Claude Akins, Norman Fell et Ronald Reagan

Détective Conan : Le Gratte-Ciel infernal (Meitantei Konan: Tokei shikake no matenrō) (1997) de Kenji Kodama avec Claudine Grémy, Philippe Valmont, Nayeli Forest, Gérard Malabat et Cyrille Monge

Les Guignols de l'info : La Fiction (1999) de Bruno Le Jean avec Yves Lecoq, Daniel Herzog, Sandrine Alexi, Nicolas Canteloup, Joël Demarty et François Jerosme

Les Trois Jours du Condor (Three Days of the Condor) (1975) de Sydney Pollack avec Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman et Addison Powell

Le Bruit des glaçons (2010) de Bertrand Blier avec Jean Dujardin, Albert Dupontel, Anne Alvaro, Myriam Boyer, Christa Theret et Audrey Dana

Burn After Reading (2008) de Joel et Ethan Coen avec George Clooney, Frances McDormand, Brad Pitt, John Malkovich, Tilda Swinton et Richard Jenkins

Antoinette dans les Cévennes (2020) de Caroline Vignal avec Laure Calamy, Benjamin Lavernhe, Olivia Côte, Louise Vidal, Marc Fraize, Jean-Pierre Martins et Lucia Sanchez

La Soif du mal (Touch of Evil) (1998) d'Orson Welles avec Charlton Heston, Janet Leigh, Orson Welles, Akim Tamiroff, Joseph Calleia et Marlene Dietrich

Cinema Paradiso (Nuovo Cinema Paradiso) (1988) de Giuseppe Tornatore avec Philippe Noiret, Salvatore Cascio, Marco Leonardi, Jacques Perrin et Leopoldo Trieste

Séries

Doctor Who Series 13

Survivants du flux - Les conquérants - The Power Of The Doctor

Le Coffre à Catch

#84 : Chavo et CM Punk c'est la bagarre!! - #85 : Kelly Kelly fait du bon catch : Info ou Intox? - #86 : Le Nature Boy de passage à la ECW ! - #87 : Le meilleur Triple Threat de la ECW ?

Affaires sensibles

Qui a peur de Belphégor ? - 1984, George Orwell - Épisode 1/2 : L'affaire Dreyfus : au fond de la corbeille - Épisode 2/2 : L'affaire Dreyfus : l'innocent le plus célèbre de France - Farewell : l'espion qui a fait basculer la guerre froide - L'OVNI de Roswell et le mystère de la Zone 51 - L'Exorciste de William Friedkin, Belzébuth superstar - Le fantôme du château de Veauce

Graffiti 80

Le premier salon du changement (1981-1983) - Coulez le Rainbow Warrior (1984-1985) - Touche pas à mon poste (1986-1987) - A l'Est du nouveau (1988-1989)

Rex, Chien Flic Saison 5, 6, 7, 8

Le testament - Secrets fatals - Sissi - Série noire - Le secret des cartes - Le brésilien - Le faux coupable - Le cheval qui valait des millions - Plein gaz - Clichés tragiques - Héritage empoisonné - Mauvaises actions - À la dernière seconde - On n'embrasse pas les policiers - Et la mort frappa deux fois - Le petit chien - Hold-up - Œil pour œil - Les cachets

Dark Side of The Ring Saison 3

Le Procès des stéroïdes

Brooklyn Nine Nine Saison 1, 2, 3, 4, 5

Halloween - Halloween II - Halloween III - Halloween IV - Halloween V

Spectacles

L'Exoconférence (2014) d'Alexandre Astier

Livres

Des rives humaines de Delphine Evano

Bilbo le Hobbit de J.R.R. Tolkien

(III) et tes soupirs entre les draps de Celle qui aimait

Kaamelott Tome 8 : L'antre du Basilic de Alexandre Astier et Steven Dupré

Détective Conan : Tome 2 de Gôshô Aoyama

Marvel, les années 2000 : Tome 3 : Black Widow de Scott Hampton et Devin Grayson

Contes et légendes mythologiques de Emile Genest

Hitchcock présente : Histoires angoissantes

[selidren]

Eté 1864 - Champs-les-Sims

3/3

Il m’arrive même parfois, au vu de ce qui m’entoure, d’oublier que je suis à présent un respectable père de famille. Avec mes parents, je me sens parfois tel un jeune garçon. Il me faudra bientôt, une fois encore, faire preuve de courage, et enfin et une fois pour toute ramener toute ma famille sous le même toi. Je vais les visiter plusieurs fois par semaine, mais j’ai le sentiment d’à peine connaître mes filles. Bercez bien votre petite Jeanne, j’en suis jaloux mais profitez des jeunes jours de cette petite fille.

Si je puis me permettre d’être plus trivial, j’aimerai évoquer avec vous une étrange affaire qui vient de surgir dans notre village. Voyez à quoi j’en suis réduit pour oublier, collectionner les ragots ! Depuis que de plus en plus de fermiers locaux (dont nous faisons partie) et que quelques familles fortunées ont acheté des résidences aux alentours, Monsieur de Chastel (Louis-Michel, fils unique du regretté Pierre Aimé) a acquis un bâtiment où il tient des soirées auxquelles Mère rêve de nous faire inviter. Cette bonne société se pique de peinture et aime faire venir des toiles depuis Paris ou des alentours afin de spéculer sur leur valeur. Il se trouve que les toiles d’un certain Louis Lantier, au demeurant très moyennes pour un peu que l’on puisse en juger (j’ai eu la chance de les apercevoir), s’arrachent et se retrouvent à orner des salons parisiens. Si il n’y a rien de remarquable à propos des oeuvres, il n’en va pas de même pour l’artiste. Ce dernier a la remarquable caractéristique d’être un véritable mystère. Les théories vont bon train et les plus ennuyeuses font état d’un petit artiste qui agis avec la complicité d’un ami pour augmenter la valeur de son travail. Personnellement, j’aime assez la rumeur qui attribue ce succès à un petit malin qui a glissé ses toiles au moment de leur chargement à Paris pour se faire un nom par un grand feu d’artifices. Soyez indulgent avec moi, la vie est relativement ennuyeuse et frustrante pour moi en ce moment.

Je ne puis attendre d’avoir de vos nouvelles.

Avec l’assurance de mes sentiments les plus cordiaux, 

Matthieu Le Bris, votre cousin

[mishinashen]

Italian Woman Standing Holding a Jug, Italienne debout tenant une cruche by Jean-Baptiste-Camille Corot

Even though Corot himself stated that he had ‘but one aim in life and that is to paint landscapes’, he considered the figure paintings to be his most intimate works and kept the majority of them in his studio in his personal collection. His meditative models are, in Pierre Georges words, ‘the image of his dreams in the midst of his memories’ (P. Georges and A.-M. Lecoq, La peinture dans la peinture, exh. cat., Paris, 1982-1983, p. 185). Reverie becomes a leitmotif in Corot’s figure paintings, and it perhaps reveals more about the artist’s character than the landscapes. Although generous and jovial to those who knew him, the pensive expressions of Corot’s figure paintings suggest a more sensitive and melancholy soul.

During the 19th century, Corot’s figure paintings were largely overlooked as the artist chose to only exhibit four of these during his lifetime. Yet even in his landscapes the painting of the human figure was of fundamental importance in providing the action sentimentale which he considered, following the principles of de Valenciennes, to be an essential ingredient in the conception of the poetic landscape. In the 20th century, this critical neglect of his figure paintings has been for the most part reversed, and his remarkable melancholic studies of women have been particularly admired and compared to the work of Vermeer. In 1909, the exhibition of twenty-four figure paintings at the Salon d’Automne permanently altered the way Corot’s achievement in rendering the human, and particularly female, figure was appreciated.

Corot’s first series of Italian models was painted in the winter of 1825-26 during the artist's first visit to Italy. These studies demonstrate the influence of his first teacher, Achille-Etna Michallon, and show the same concern with the capturing of the textures of the fabrics, the same rapidity of execution, and the same preoccupation with the human body and lack of attention to the background. However, although the young artist shows considerable interest in documenting regional costumes, he is even more intrigued by the physical expression, the position of the body and the psychological suggestion of a personality.

In Italienne debout tenant une cruche Corot has chosen to depict his model in near full-length, facing forward and clearly gazing outside of the picture plane. Her arms are stretched out at her sides in an effort to balance the cruche perched atop her head. Her raven black hair and very dark eyes are in striking constrast to her pale skin and this is echoed in the juxtaposition of the deep claret red of her underdress and the creamy white of her apron and collar. Where Michallon would concentrate on accurately capturing the details of the costume, Corot is undoubtedly more interested in capturing the attitude of his subject, and in this case, her overt sensuality.

Indeed, it is in his figure paintings, Corot comes closest to being considered a painter of modern life. The American painter John LaFarge wrote in 1908, 'the extraordinary attainment of Corot in the painting of figures is scarcely understood today even by many of his admirers and most students. And yet the people he represents, and which he represents with the innocence of a Greek, have a quality which has skipped generations of painters' (J. LaFarge, The Higher Life in Art: A Series of Lectures on the Barbizon School of France Inaugurating the Scammon Course at the Art Institute of Chicago, New York, 1908, p. 162).

Even one of the foremost artists of the Impressionist movement, Edgar Degas, expressed his admiration for Corot’s rendering of the human form. Degas, who, when asked to agree that Corot knew how to draw a tree, replied, 'Yes, indeed...and I think he is even finer in his figures' (Moreau-Nélaton in A. Robaut, op. cit. 1905, vol. 1, p. 336). Corot’s figural works resonated with the artists of the Impressionist movement and beyond, and his young women’s haunting visages found expression in the figurative and abstract work of Picasso, who became interested in Corot in the 1910s, making a free copy of one of his figure portraits.

This work, most likely executed in his studio upon his return from his first trip to Italy when he was just starting out on his journey as an artist, remained in his studio his entire life and was not sold until after his death. Corot considered his small portraits and figure studies to be very personal objects, and he would rarely part with them. It is in these renditions, that we see a different side of an artist known primarily for his landscapes – we see a glimpse into his soul. Even this early in his long and productive career, Corot has essentially shattered the narrative in favor of a purely painterly execution. Corot painted ‘for the pleasure of painting, for the joy of capturing on canvas a lovely dark gaze or harmonizing the white blouse with the yellow of a sleeve or the red of a skirt’ (É. Moreau-Nélaton, ‘Les figures de Corot,’ L’Art et les artistes, 2 December 1905, pp. 178-179). The young artist is experimenting with the concept of rendering the human figure directly, and the painterly depiction of his model becomes an end unto itself. By not placing his model into any historical, narrative or topological context Corot makes a leap into modernity that will be seized upon by the artists of the Impressionist and Modern movements of the late 19th and early 20th centuries such as Édouard Manet. Much of the power of this intimate painting is embedded in the directness and intensity of her gaze, which is that is a very real woman and not an idealized ‘type’, which creates the unusual intimacy found within this extraordinary painting.

In 1896, 21 years after Corot’s death, André Michel wrote, ‘If one could place on one side of a gallery the ‘official’ compositions that Corot painted in his first years – following the rules and for submission to the Salon to be judged by his masters and the public – and on the other side the small studies he made on his own…one would be struck by the deep differences between them. He seems as constrained and forced in the one group as he is spontaneous, original and charming in the other’ (A. Michel, Notes sur l’art moderne (peinture): Corot, Ingres, Millet, Eug. Delacroix, Raffet, Meisonnier, Puvis de Chavannes. À travers les Salons. Paris, 1896, p. 14).

[focusmonumentum]

Le Grand Palais : la Nef

Image de la Réunion des musées nationaux, cette gigantesque structure mêlant pierre, fer et verre, occupant une surface au sol de 13500m2, fut le fleuron de l'Exposition Universelle de 1900, faisant face à son voisin, le Petit Palais (cf. article précédent), séparé par l'actuelle avenue Winston Churchill, partie prenante de l'axe "républicain", reliant les Invalides au Palais de l'Élysée. Tous deux furent édifiés à l'emplacement de l'ancien Palais de l'Industrie, présent depuis 1855 entre la Seine et les Champs-Élysées.

Comme le Petit Palais, le Grand est représentatif du jusqu'au-boutisme de la IIIème République dans sa volonté de synthèse éclectique: le style "Beaux-Arts". Faisant face au Petit, une colonnade monumentale, de près de 240 mètres de longueur (inspirée à l'architecte Henri Deglane par la colonnade de Perrault au Louvre), masque, tel un gigantesque décor de théâtre, la base architecturale de l'épique verrière chapeautant le vaisseau transparent de la nef. Construite par l'entreprise Daydé & Pillé (à qui l'on doit également le proche Pont Alexandre III), cette verrière, la plus grande d'Europe, s'élevant à 45 mètres de hauteur, est composée de 9057 tonnes de métal (contre "seulement" 7300 pour la Tour Eiffel, à titre de comparaison), et de 280 tonnes de verre feuilleté. Charles Girault (l'architecte du Petit Palais), coordinateur des travaux, s'inspira du "feu" Crystal Palace de l'exposition universelle de Londres de 1851, incendié depuis... Cette mégastructure transparente fut conçue à l'origine pour exposer les oeuvres d'artistes (sculpteurs ou peintres) des Salons "officiels" de la République alors désireuse de représentations fastueuses, mais également afin de servir "officieusement" de studio démesuré de prise de vues photographiques, d'un art alors naissant, nécessitant un temps d'exposition assez long, ainsi qu'une lumière tant que possible naturelle (la "fée électricité" ne s'étant pas encore répandue partout). Cet espace immense permit en outre l'organisation de nombreux autres salons et évènements, dans la première moitié du XXème siècle, avant le développement du Parc des Expositions de la Porte de Versailles (dès 1923) ou la création du CNIT, à La Défense, en 1958. Parmi ceux-ci, nous pouvons mentionner le concours hippique national (dotant alors le sol de la nef d'une piste sablée), les Salons de l'automobile, de l'aviation, des arts ménagers, le Salon nautique international, le Concours Lépine... Elle accueillit le Salon de l'Enfance de 1950 à 60, la FIAC (alternativement avec d'autres lieux) depuis les années 70, le Salon du Livre (créé ici en 1981), Paris Photo... ainsi que de nombreux événements ponctuels, de philatélie, de floralies, des congrès, défilés de mode, concerts, cirque ou sports indoor. Justement, la nef du Grand Palais accueillera à l'occasion des Jeux Olympiques de l'été 2024 les compétitions d'escrime et de taekwondo, justifiant une longue phase de travaux, démarrée en début d'année, afin de sécuriser, rénover et réaménager totalement l'espace intérieur et ses infrastructures.

Pendant ce temps, le Grand Palais Éphémère, structure temporaire (comme son nom l'indique) conçue écologiquement par l'architecte Jean-Michel Wilmotte, accueillera les expositions et manifestations du Grand Palais, délocalisé sur le Champ-de-Mars, un autre site intimement lié aux Expositions universelles. Il accueillera quant à lui les épreuves de judo et de lutte, avant d'être démantelé...

Ce monument cyclopéen, à la gloire des arts (et de la république), se devait, dans sa conception initiale, de se doter d'entrées herculéennes. Celle-ci, côté Champs-Elysées, est la plus représentative de la vocation initiale du bâtiment: la glorification des arts. En effet, le portail monumental d'entrée des expositions artistiques majeures du Grand Palais est surmonté d'un groupe sculpté, à quarante mètres de hauteur, en cuivre repoussé (devenu vert-de-gris au fil du temps), représentant un quadrige de chevaux au galop (inspiré par le Char d'Apollon du bassin éponyme du Parc de Versailles), surmonté d'une Renommée, aurige messagère des dieux de l'antiquité gréco-romaine, portant une couronne de lauriers destinée aux Héros et un buccin pour sonner leur gloire, faisant choir Chronos, dieu du temps et de la destinée... Puissante allégorie, s'il en est, de la pérennité des arts triomphant du temps et de l'oubli. 

Crédits : ALMs