View allAll Photos Tagged Barbara Traver
Seen through the lens of the Vivitar UltraWide&Slim, the charming little cemetery of Ollomont looks like a set for a zombie movie.
Vu au travers de l'objectif du Vivitar UltraWide&Slim, le charmant petit cimetière d'Ollomont prend des allures de décor pour film de zombie.
Fomapan400 1600iso R09 (Rodinal) 1+25 20'
... cuando conocí el proyecto de Alicia Petrashova y Raquel Ferrando no dudé un segundo en actuar como embajador del proyecto y colaborar con ellas con una imagen conceptual realizada expresamente para este proyecto.
Mi labor como embajador es dar difusión a la realidad que sufren los refugiados de Siria en su camino de huida del terror de la guerra, hasta que llegan a Europa.
Puedes colaborar de diferentes maneras y aportar tu granito de arena para la causa, si quieres más información, solo tienes que entrar en www.verkami.com/projects/13878-ultima-parada-libertad
Aquí encontrarás toda la información necesaria. Cuantos más nos involucremos más visibles seremos.
También quería dar las gracias a Bárbara Traver, porque sin su ayuda no hubiese sido lo mismo.
_________________________
Please, you can follow me on ...
500PX .
A droite se trouve un "kakstoel", une chaise d'aisance. Vous avez à travers la porte un aperçu d'une arrière-salle ensoleillée et un jardin. Ces genres de points de vue étaient la spécialité de De Hooch.
ENGLISH :
"Mother's Job". Pieter de Hooch, Oil on canvas, 1658-1660. A mother thoroughly inspects her daughter's hair to see if she has lice. It is a sober Dutch interior with blue Delft tiles and a bed To the right is a "kakstoel". You have through the door a glimpse of a sunny back room and a garden. These kinds of view were the specialty of De Hooch.
Aquí tenéis otra de las imágenes que salió de un fantástico día de fotos con Bárbara Traver.
Un bosque nos puede deparar muchas sorpresas, ... por si acaso nunca te quedes solo cuando anochezca, nunca sabes quién puede
venir a buscarte!!
travers walking through the field, jamming away on his guitar. he was doing this on his own while his older brother Will and i were shooting photos with a group of other people.
Parámetros :: Parameters :: Paramètres: Fuji FinePix SL1000; ISO 100; 0 ev; f 14.7; 1/15 s; 30 mm Fujinon Lens HSM.
Título :: Title :: Titre ::: Fecha (Date): Gran Azul :: Great Blue :: Grand Bleu ::: 2015/05/07 19:56
(Es). Historia: Villavente. León. España. Faltaban por caminar unos 6000 pasos aún ese día. Salgo con Fray a cumplir la cuenta, caminando por zona de cultivos y también pinares, hayedos y robledales. El día ha estado nublado y la puesta de sol parece que puede tener interés. Al fondo la zona de Peña Ubiña, Piedrasecha, Cuevas de Viñayo, La Magdalena. Las nubes dan un respiro al atardecer y allí estoy quitándome los auriculares y escuchando el intenso sonido del atardecer. El sol aún está alto y produce esos trazos luminosos que recuerdan a aquellos que dejaban los focos en el interior de los bares al atravesar la atmósfera cargada de humo de tabaco, cuando se podía fumar dentro. Continué un rato escuchando pero luego, mientras aún se sostenían los trazos, volví a poner los auriculares y busqué el "Ave María" cantado por Barbara Hendricks; casi siete minutos de atardecer con música excelente. Fray encontró un hueso entre los aún cortos y verdes trigales. Cada can a su plato.
Toma: Observo embobado la escena y no me acuerdo de hacer la foto. Luego me doy cuenta y simplemente encuadro pensando en recorte posterior y disparo varias veces con diferentes panorámicas.
Tratamiento: Con Aperture. Original en JPG. Primero busco el encuadre que más me gusta para la escena: panorámico. Luego busco la dominante azul que había en el día. Oscurezco el poco horizonte que dejo en el encuadre para no distraer con detalles lo que quiero remarcar: las trazos de luz, la intensa nubosidad de la parte alta y el horizonte montañoso con algunos restos de nieve. Reduzco un poco la vibración de color. Viñeta.
¡Eso es todo amigos!
(En). The History: Villavente. León. Spain. They lacked to walk about 6000 steps yet that day. Fray go to comply with the bill, walking the area of crops and pine, beech and oak. The day was cloudy and the sunset looks like it may be interesting. At back Peña Ubiña, Piedrasecha, Cuevas de Viñayo, La Magdalena. The clouds give a break at sunset and there I am, taking off my headphones and listening to the sound of this intense sunset. The sun is still high and produces these bright strokes that resemble those left by the lights inside the bars through the smoky atmosphere of snuff, when you could smoke inside. I kept one listening but then, while still holding the strokes, I again put the headphones and looked for the "Ave Maria" sung by Barbara Hendricks; almost seven minutes of sunset with excellent music. Fray found a bone between the still short and green wheat fields. Each Dog to his plate.
Taking up: I observe the scene spellbound and I do not remember taking the picture. Then I fill the frame and simply thinking of cutting back and shot several times with different views.
Treatment: With Aperture. Original JPG. I first look for framing I like for the scene: Panoramic. Then I look for the blue cast that was on the day. Darken the horizon little left in the frame to avoid distracting details I want to emphasize: the streaks of light, intense clouds of the upper and mountainous horizon with some remnants of snow. We reduce slightly of color vibration. Vignette.
That's all folks !!
(Fr). Histoire: Villavente. León. L'Espagne. Manque de marcher environ 6000 mesures encore ce jour-là. Fray aller pour se conformer à la loi, la marche de la zone de cultures et de pins, de hêtres et de chênes. Le jour était nuageux et le soleil semble que cela peut avoir un intérêt. La zone du bas de la Peña Ubiña, Piedrasecha, Cuevas de Viñayo, La Magdalena. Les nuages donnent une pause au coucher du soleil et là, je suis en train de décoller mes écouteurs et écouter le son du coucher du soleil intense. Le soleil est encore haut et produit ces traits lumineux qui ressemblent à celles laissées par les lumières à l'intérieur des barres à travers l'atmosphère enfumée de tabac, alors que vous pourriez fumer à l'intérieur. Je gardais une écoute mais ensuite, tout en maintenant les coups, je mets à nouveau les écouteurs et regardé pour la "Ave Maria" chanté par Barbara Hendricks; près de sept minutes de coucher de soleil avec de la bonne musique. Fray trouvé un os entre les champs de blé encore courtes et vertes. Chaque chien chaque plat.
Prendre: Observez la scène envoûté et je ne me souviens pas de prendre la photo. Ensuite, je me rends compte que je cadre et tout simplement de penser à la coupe de retour et a tiré à plusieurs reprises avec différents points de vue.
Traitement: Avec Aperture. Origine JPG. D'abord je cherche le cadre qui me plaît plus pour la scène : panoramique. Tout de suite je cherche la bleue dominante qui existait dans le jour. J'obscurcis peu l'horizon que je laisse dans le cadre pour ne pas distraire avec détails ce que je veux remarquer : les traits de lumière, la nébulosité intense de la haute partie et de l'horizon montagneux avec quelques restes de neige. Je réduis un peu la vibration de couleur. Vignette.
Voilà, c'est tout!
Belgian postcard in the Vedettes series of Victoria Chocolates by S. Best. Anvers (Antwerp) / Rotterdam, no. 2.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by E.D.U.G., no. 326. Photo: Sam Levin.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Parámetros :: Parameters :: Paramètres: Fuji FinePix SL1000; ISO 800; 0 ev; f 14.7; 1/15 s; 12.7 mm Fujinon lens.
Título :: Title :: Titre ::: Fecha (Date): La Puerta :: The Door :: La Porte ::: 2014/02/18 18:01
Palabras Clave, Keywords: Fray, Perro, Medinaceli, "Castilla y León", Soria, España, "Marca España", Dolor, Barbarie, Tortura, Tradición, Brutalidad, Muerte, Toro, "Toro Júbilo", Fuego, Políticos, Incultura, Dog, Spain, "Brand Spain", Pain, Torture, Tradition, Brutality, Death, Toro, Fire, Political, Chien, Ignorance, "Le Marque Espagne", Espagne, Brutalité, Mort, Feu, Ignorance, Politique.
(Es). Historia:León. España. Fray acaba de salir a la terraza a dar un vistazo a la calle antes de salir. Es Febrero y hace frío, así que tenemos que cerrar la puerta mientras se pasa un largo rato mirando la calle, con sus manos subidas a la barandilla del balcón. A los pocos minutos quiere entrar. Espera pacientemente mirando por la rendija que deja la cortina, al lado de la manilla de la puerta.
Estos días se celebra otra cruel y bárbara tradición española: "El Toro Júbilo" de Medinaceli, en Soria. España sigue siendo un país triste para los animales. Poblaciones enteras disfrutan de la tortura disfrazada de cultura y tradición. A un toro se le atornillan a los cuernos unas bolas embadurnadas en un producto inflamable. Se le prende fuego durante horas mientras el toro intenta desesperadamente deshacerse de ese fuego que tiene en sus cuernos. Muchos de ellos mueren desnucados al golpearse inútilmente contra paredes, árboles o piedras. Después será sacrificado y servirá para darse un festín los habitantes del siniestro pueblo. Sacrificar animales para alimento humano no sólo no es estrictamente necesario sino que es un consumo de recursos tan elevado que no podrá seguir soportándose en el planeta por mucho tiempo. Matarlo además con esta crueldad es algo que no debería de pasar en España.
Pero la culpa de estas prácticas no recaen solamente en los habitantes de Medinaceli, que funden y confunden la tradición con la barbarie y la crueldad. Gran parte de la culpa de estas atrocidades recae directamente sobre los políticos de Castilla y León, que teniendo la potestad de eliminar definitivamente estas prácticas macabras actualizando la legislación a los tiempos actuales, prefieren la colección de 4000 posibles votos de la población. Si legislan en contra, el Partido Popular puede perder votos en las siguientes elecciones. Conclusión: prefieren permitirles prácticas ancestrales y crueles, pero cosechar votos a su bando. Esta es la ética de gran parte de los políticos españoles; esto es parte de la "Marca España".
Quedan crueldad y tortura como palabras clave asociadas a esta imagen las que definen la actual actuación en Medinaceli sobre el "Toro Júbilo", su gente y nuestros políticos. Sólo la difusión internacional de estar barbaridades puede ejercer la presión suficiente para que estas prácticas hagan sentir vergüenza a quienes las practica y a quienes las permiten. Podéis enviar vuestra opinión a estos políticos insensibles desde el punto de vista ético y humano que tenemos. Aquí tenéis direcciones donde indicar cómo diferencian entre tradición y barbaridad, o entre cultura y tortura.
Diputación Provincial de Soria: prensa@dipsoria.com
Presidente de la Junta de Castilla y Leon. Juan Vicente Campo. Fax + 34 983411269. presidente_responde@cpat.jcyl.es
Toma: Paso por el pasillo a ponerme los zapatos y veo a Fray esperando en la puerta Voy a por la Fuji y captura la tranquila espera mientras observa atentamente el interior de la sala por el hueco que deja la cortina. Pongo la cámara a la altura de su cabeza, me acerco, busco un encuadre que contenga la manilla de la puerta y disparo. Asumo que habrá partes quemadas si queremos tener detalle de la manilla.
Tratamiento: Con Ligthroom. Original en JPG. Tengo que bajar las luces altas para dejar entrever la parte de Fray que está detrás de la cortina. Las sombras las realzo para ganar detalle de la manilla de la puerta. Reduzco el grano con la luminancia. Luego una ligera viñeta.
¡Eso es todo amigos!
(En). The History:León. Spain. Fray just came out to the terrace to take a look at the street before going out for a walk. It's February and cold, so we have to close the door while he spends a long time watching the activity on the street, with his hands uploaded to the balcony railing. A few minutes out to the terrace and wants to enter. Wait patiently looking through the gap left by the curtain, next to the door handle.
These days another cruel and barbaric tradition is celebrated Spanish "El Toro Jubilo" of Medinaceli, Soria. Spain remains a country sad for the animals. Entire populations enjoy torture disguised as culture and tradition. In the village of Medinaceli, at a bull they are screwed to the horns balls smeared in a flammable product. It is set alight for hours while the bull desperately trying to get rid of that fire has on their horns. Many of them die breaking his neck when struck futilely against walls, trees or rocks. Then he will be sacrificed and to feast the people of sinister people. Slaughter animals for human food not only is not strictly necessary but a high consumption of resources that can no longer be supported in the planet for long. Well kill him with this cruelty is something that should not happen in Spain.
But the blame for these practices do not fall only on the people of Medinaceli, melting and confused tradition with barbarism and cruelty. Most of the blame for these atrocities rests squarely on politicians of Castile and Leon, than having the power to permanently delete these macabre practices updating legislation to modern times, prefer the collection of 4000 likely voters in the population. If legislate against the Popular Party could lose votes in the next election. Conclusion: they prefer to allow ancestral and cruel practices, but garner votes to their side. This is the ethic of much of Spanish politicians; this is part of the "Spain Brand".
Are keywords like cruelty and torture associated with the image that define the current performance in Medinaceli on "Toro Jubilo", its people and our politicians. Only the international spread of atrocities can be enough pressure so that these practices do feel shame those who practice and those who allow them. You can send your opinion on this unresponsive politicians from the point of view of ethics and humanity. Here are directions which indicate how they differ between tradition and barbarity, or between culture and torture.
Diputación Provincial de Soria: prensa@dipsoria.com
Presidente de la Junta de Castilla y Leon. Juan Vicente Campo. Fax + 34 983411269. presidente_responde@cpat.jcyl.es
Taking up: As I walk down the hall to put on my shoes and see Fray waiting at the door. I go for the Fuji and captures the quiet waiting while watching inside the room carefully for the gap left by the curtain. I put the camera to the same height as his head, approached me, looking for a frame that contains the handle of the door and shot. I assume that there will if we have burned parts detail of the handle.
Treatment: With Lightroom. Original JPG. I have come down to let on the high part of Fray behind the curtain lights. The shadows to win the enhanced detail of door handle. We reduce the grain luminance. After a slight vignette.
That's all folks !!
(Fr). Histoire:León. L'Espagne. Fray vient de sortir sur la terrasse pour prendre un coup d'oeil à la rue avant de sortir pour une promenade. Il est Février et le froid, donc nous devons fermer la porte alors qu'il passe beaucoup de temps à regarder l'activité sur la rue, avec ses mains téléchargés sur la balustrade du balcon. A quelques minutes à la terrasse et veut entrer. Attendez patiemment en regardant à travers le vide laissé par le rideau, à côté de la poignée de porte.
Ces jours-ci une autre tradition cruelle et barbare est célébrée espagnol "El Toro Jubilo» de Medinaceli, Soria. L'Espagne reste un pays triste pour les animaux. Des populations entières bénéficient torture déguisée en culture et la tradition. Dans le village de Medinaceli, à un taureau est vissé sur les cornes balles enduites d'un produit inflammable. Il est mis le feu pendant des heures alors que le taureau essayant désespérément de se débarrasser de ce feu a sur leurs cornes. Beaucoup d'entre eux meurent casser le cou lorsqu'il a été frappé en vain contre les murs, les arbres ou les rochers. Puis il sera sacrifié et de fête, le peuple de gens sinistres. Les animaux de boucherie pour l'alimentation humaine non seulement est pas strictement nécessaire, mais une forte consommation des ressources qui ne peuvent plus être pris en charge dans la planète pour longtemps. Eh bien le tuer avec cette cruauté est quelque chose qui ne devrait pas arriver en Espagne.
Mais le blâme pour ces pratiques ne relèvent pas seulement sur les gens de Medinaceli, la fusion et la tradition confondu avec la barbarie et de la cruauté. La plupart du blâme pour ces atrocités repose carrément sur les politiciens de Castille et Leon, que d'avoir le pouvoir de supprimer définitivement ces macabre législation pratiques de mise à jour à l'époque moderne, préfèrent la collecte de 4000 électeurs probables dans la population. Si légiférer contre le Parti populaire pourrait perdre des voix à la prochaine élection. Conclusion: préfèrent pour permettre des pratiques ancestrales et cruel, mais votes de Garner à leur côté. Ceci est l'éthique de la plupart des hommes politiques espagnols; cela fait partie de la "Marque Espagne".
Sont des mots-clés tels que la cruauté et de torture associés à l'image qui définissent la performance actuelle à Medinaceli sur "Toro Jubilo", son peuple et nos politiciens. Seule la propagation internationale des atrocités peut être assez de pression pour que ces pratiques ne se sentent honte à ceux qui la pratiquent et ceux qui les permettent. Vous pouvez envoyer votre avis sur ce politiciens qui ne répondent pas du point de vue de l'éthique et de l'humanité. Voici les directions qui indiquent comment ils diffèrent entre la tradition et de la barbarie, ou entre la culture et la torture.
Diputación Provincial de Soria: prensa@dipsoria.com
Presidente de la Junta de Castilla y Leon. Juan Vicente Campo. Fax + 34 983411269. presidente_responde@cpat.jcyl.es
Prendre: Comme je marche dans le couloir pour mettre mes chaussures et de voir Fray attendait à la porte. Je vais pour le Fuji et capture l'attente tranquille tout en regardant à l'intérieur de la chambre attentivement le vide laissé par le rideau. Je mets la caméra à la même hauteur que la tête, m'a approché, la recherche d'un cadre qui contient la poignée de la porte et frappe. Je suppose qu'il y aura si nous avons brûlé pièces détail de la poignée.
Traitement: Avec Lightroom. Origine JPG. Je suis descendu pour le laisser sur la partie haute de Fray derrière les feux de rideaux. Les ombres pour gagner le détail améliorée de poignée de porte. Nous réduisons la luminance du grain. Après une légère vignette.
Voilà, c'est tout!
Foto feta, tot probant la càmera i objectiu de dos companys a Iso 1000 amb llum continua sense flaix amb una càmera Canon 6D i un objectiu 70-200 2,8 pota negre. Amb poca llum aconsegueixes uns detalls acceptables i una qualitat d'arxiu bó!
Gràcies Gabi per la teva companyonia, amic!!!
Romanian postcard by Casa Filmului Acin, no. 232.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish postcard by Postal Oscar Color, Hospitalet (Barcelona), no. 608, 1966.
French actress Claudine Auger (1941) is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France Monde and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (1962, Henri Decoin) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (1965, Pierre Étaix). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (1965, Terence Young), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (1966, Jacques Deray), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (1967, Dino Risi), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (1967, Fausto Saraceni, Luigi Zampa) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (1967, Alain Jessua) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (1968, Ettore Scola) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (1971, Mario Bava). This Giallo - an Italian genre of bloody horror-thrillers Italian – is often cited as the grandfather of the modern slasher film. Robert Firsching synopsis t AllMovie: “the film's style influenced countless American slasher films of the 1970’s and 1980’s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (1972, Paolo Cavara) starring Giancarlo Giannini. Opposite Christopher Mitchum, the son of Robert Mitchum, she co-starred in the Italian action film Un verano para matar/Summertime Killer (1972, Antonio Isasi-Isasmendi).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (1975, Jacques Deray) starring Alain Delon and Jean-Louis Trintignant. She again worked with Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (1978, Jacques Deray) starring Lino Ventura, James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (1979, Mario Monicelli) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (1979, Giorgio Capitani). The French comedy L'Associé/The Associate (1980, René Gainville), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (1984, Zelda Barron, Judith Lang) and the British-American production The Summer House (1993, Waris Hussein) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (1993, Andrew Birkin) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (1995, Antonio del Real). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), Wikipedia, and IMDb.
Vintage postcard. Photo: P.A. Reuter. Claudine Auger and Sean Connery in Thunderball (Terence Young, 1966).
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in the Collection Magie Noire by Editions Hazan, Paris, no. 6377, 1993. Photo: Claudine Auger and Sean Connery in Thunderball (Terence Young, 1966).
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy. Claudine Auger was 78.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Hans Pleydenwurff. 1420-1472. Nuremberg.
Beheading of St Barbara. vers 1470
Prague Narodni Galerie Couvent Sainte Agnès de Bohême.
LA FEMME DANS LA PEINTURE DE L'EUROPE CATHOLIQUE
L'art en général, et la peinture en particulier, témoignent de l'importance accordée à la femme dans la civilisation européenne.
Mais l'image de la femme a évolué selon le contexte idéologique, les croyances en vigueur à telle ou telle époque de l'histoire européenne.
En faisant commencer l'histoire européenne de l'art vers 500 c'est à dire avec le christianisme, le sujet de la femme dans la peinture de l'Europe sera évoqué au travers de cinq dossiers :
1° La femme dans la peinture de l'Europe catholique. De 500 à 1500 environ. Toutefois la peinture de chevalet ne débute que vers 1300. Auparavant la peinture se manifeste au travers des fresques, des mosaïques, des vitraux et dans les livres : les enluminures.
2° La femme dans la peinture de l'Europe Catholique et Humaniste. De 1500 à 1800 environ
3° La femme dans la peinture des Pays Bas Protestants au 17è siècle
4° La femme dans la peinture de l'Europe idéologiquement plurielle du 19è siècle. 1800-1950 environ
5° La femme dans l'Art Contemporain Officiel. 1950...
Les femmes ont une image très présente, même omniprésente, et très favorable, sous certains angles de vue, dans la religion catholique et dans celle orthodoxe. Une image dont témoigne l'art de la peinture, avec ses innombrables représentations de la Vierge Marie, et ses multiples Saintes.
Ces images de la femme ont été fondamentales par leur influence non seulement religieuse, mais aussi sur la société dans son ensemble. Toute la culture de l'Europe, du bas en haut de l'échelle sociale, a subi l'influence de cette représentation constante de la femme, et surtout de la mère et de l'enfant.
Bien sûr Marie et les Saintes n'ont rien à voir avec la déesse de l'Amour (Aphrodite -Vénus), ou de la chasse (Artemis-Diane), ni avec les Nymphes que poursuivaient Apollon ou Pan, ni avec les Bacchantes et Ménades qui accompagnaient Dionysos.
L'Europe chrétienne constitue incontestablement une rupture idéologique très profonde par rapport aux conceptions du monde qui étaient celles de l'Antiquité gréco-romaine.
Avec le Christianisme la femme nue disparaît. La seule exception à la non représentation du nu féminin dans l'art de l'Europe catholique est Eve. Compte tenu du contexte paradisiaque, il n'était pas possible d'habiller Eve, ni Adam, avant la Chute. Deux feuilles ont suffit. Ce n'est qu'après la Chute qu'il a été possible de les recouvrir d'une peau de mouton. Il s'était produit un refroidissement climatique d'ordre idéologique. Les refroidissements climatiques, comme les réchauffements climatiques, sont souvent aussi d'ordre uniquement idéologique.
La femme idéale, dans l'Europe catholique et orthodoxe, s'habille donc, et l'érotisme est totalement absent de la peinture médiévale. Les Evangiles ne sont pas propices à l'érotisme. Pendant toute la période romane et gothique l'Ancien Testament n'est pas une source d'inspiration très importante pour la peinture européenne. Donc pas encore de "Lot et ses filles", de "Bethsabée ou de Suzanne au bain", de Judith aguicheuse et vengeresse. Il faudra attendre la seconde période, après la "Renaissance".
Mais la femme idéale ne se voile pas. C'est l'image de la Vierge et de la Mère qui prévaut absolument avec le christianisme. L'Amour toujours, mais l'amour sacré, mystique, et l'amour maternel succèdent à l'Amour profane. Dieu n'est pas Zeus, il ne court pas après les filles.
Cette image de la femme, même "seulement" vierge et mère, a beaucoup contribué à créer une situation sociale et politique de la femme infiniment plus favorable en Europe que dans d'autres civilisations, notamment la Chine et l'Islam. A l'exception toutefois de la civilisation indienne qui a multiplié elle aussi les images de la Déesse et de la femme en général. Sans aucunement exclure le nu féminin et sans faire l'impasse sur la sexualité et l'érotisme. Cette caractéristique hindoue, l'intégration de l'amour physique dans la philosophie et la religion est unique à l'échelle des grandes civilisations de notre ère. Elle ne sera pas reprise par le courant dérivé du Brahmanisme qu'est le Bouddhisme.
Aux racines de la culture européenne, les déesses Grecques avaient certes un statut éminent, pratiquement équivalent aux Dieux. Mais le rôle de la femme grecque, celle mortelle et non divine, était habituellement tout à fait limité à la vie privée. Dans la société romaine, il est vrai, la situation était très différente, dès la fin de la République. Il est attesté par l'histoire que l'implantation victorieuse du Christianisme dans l'Empire Romain doit énormément aux femmes de l'Empire romain. Le nombre important des martyrs femmes, généralement de la haute société, victimes des diverses persécutions impériales avant Constantin le Grand en est la preuve.
Il semble que l'importance du rôle social de la femme dans la société européenne, a eu aussi ses sources dans certains aspects de la culture des peuples de l'Europe au Nord des Alpes : Celtes, Germains, Scandinaves, Slaves. Mais la religion chrétienne, catholique et orthodoxe a donné à la femme une importance décisive dans la société européenne. Le culte de la Vierge n'est pas dans les Évangiles. L'adoration de Marie est incontestablement une création des Églises Catholiques et Orthodoxes. Mais cette création, que les idéologues actuels qualifient d'idolâtre, sans vouloir admettre qu'ils sont eux aussi adorateurs d'autres idoles moins innocentes, a eu des impacts considérables tant sociaux que politiques sur la civilisation européenne.
La longue lutte de l'Eglise pour imposer le mariage indissoluble était dirigée contre les pratiques germaniques de répudiation des femmes à la seule initiative de l'homme. Les exemples les plus connus concernent bien évidemment les familles aristocratiques et royales d'Europe, comme par exemple le Roi de France, Philippe Auguste. Cette image de la femme, vierge sans défense, ou épouse et mère pacifique et protectrice de l'enfance et des faibles a aussi beaucoup contribué à apaiser une société dans laquelle la légitimité politique reposait sur la force des armes, la violence physique. Marie n'est pas seulement en effet un archétype symbolique de la Mère, elle est aussi celui de l’Épouse et de la Famille. Marie n'est pas seulement la Vierge à l'Enfant ou la Mère au pied de la croix, la "Mater Dolorosa" des Pieta et Mises au Tombeau. Marie est aussi l'épouse des innombrables Mariage de la Vierge, Visitations, Nativités, Adoration des Mages ou des Bergers, Fuites en Égypte, Présentations au Temple, Circoncisions. Dans toute cette iconographie, le mari, Joseph, est toujours discrètement mais clairement présent. Et ce n'est évidemment pas un hasard, mais la traduction d'une volonté de l’Église d'affirmer l'importance du rôle de la cellule familiale. Il faut ajouter encore les "Saintes Familles" ou "Saintes Parentés", qui sont aussi nombreuses, et qui élargissent le modèle au cercle d'une famille plus large que le couple parental.
Cet effort "féministe", à l'intérieur du concept de famille, est un constat de fait qui résulte de la seule observation de l'art catholique. Un constat qui déplait beaucoup à certaines idéologies, profanes ou religieuses, actuellement dominantes en Europe, acharnées, depuis trois siècles à donner des religions catholiques et orthodoxes l'image de doctrines tout à fait abrutissantes et rétrogrades. C'est ce modèle de la femme et de la famille, un modèle universel, pas seulement catholique, qui est pris pour cible depuis un demi-siècle par les idéologues au service des Grands Influents qui dominent l'Occident. Preuve que le modèle de société qui a été celui du catholicisme dérange encore beaucoup les projets de certaines sectes contemporaines.
Pendant toute l'époque gothique la femme est triplement symbolique.
- Symbole de la chute de l'homme (Eve ) Puis symbole de sa rédemption (Marie). Première symbolique dialectique, subtilement évocatrice des rapports homme-femme.
- Symbole de l'Amour Sacré, mystique, avec la Vierge Marie et les saintes. Symbole aussi de l'amour de l'enfant et de la famille.
- Symbole plus global de l'amour des êtres et de leur protection, notamment des pauvres et des faibles contre les riches et les violents. Ce symbole est évoqué par l'iconographie des Vierges de Protection ou de Miséricorde.
Le féminisme de la civilisation catholique est encore très clairement apparent dans l'art des portraits officiels, de Théodora à Blanche de Castille en passant par Éléonore d'Aquitaine les femmes n'ont pas cessé de tenir un rôle politique important dans l'Europe Catholique. Pas seulement dans le royaume de France. Elles ont gouverné l'Espagne (Isabelle de Castille), les villes italiennes (Mathilde de Florence), et tenu un rôle politique constant au niveau des principautés et duchés ( Béatrice de Provence, Anne de Bretagne), des comtés et des seigneuries. Un rôle politique qui se poursuivra pendant la période de l'Europe Catholique et Humaniste (Catherine et Marie de Médicis, Marie Thérèse d'Autriche, Élisabeth I d'Angleterre..) . Un rôle politique qui ne cessera qu'en conséquence de la Révolution française. Ce constat du rôle politique éminent et officiel, pas seulement dans le secret des alcôves, de la femme ne peut être fait dans les pays musulmans, au Japon, en Inde, même dans l'Inde non islamisée et rarement en Chine qui a cependant connu quelques impératrices épouses ou douairières redoutables.
La particularité de cet art catholique médiéval est d'autre part d'avoir été univoque et inter-social.
- Univoque, car cet art est l'expression d'une idéologie unique : le christianisme catholique à l'ouest de l'Europe, le christianisme orthodoxe à l'est. Une idéologie religieuse qui n'a pas de concurrence sérieuse dans la société médiévale, et qui modèle totalement la société européenne, de manière relativement efficace, au plan éthique et esthétique.
- Inter-social, car c'est en effet un art partagé par toutes les couches de la population européenne du haut en bas de l'échelle sociale. Ce art est bien sûr idéologiquement conçu et même imposé par les élites aristocratiques, religieuse et laïque du temps. Mais il est exécuté par des artistes-artisans qui sont tous d'origine populaire, et il est destiné à un public qui représente toutes les classes sociales, de l'aristocratie à la paysannerie illettrée. Il n'y a pas d'art réservé à telle ou telle catégorie de la population, pas d'art pour l'élite, pas d'art, différent, pour le peuple. Toute la société a le même art.
C'est ainsi que l'image de la femme, telle que la propose en modèle la religion catholique et orthodoxe s'impose de haut en bas de la société médiévale : Epouse et mère, ou vierge. Dans tous les cas aimée, honorée, couronnée comme reine dans les cieux, et désignée comme protectrice des faibles et des innocents, sur terre.
La critique est facile, mais il y a pire comme modèle féminin. Conceptuellement le modèle hindouiste est très supérieur. Bien sûr le modèle hindouiste d'avant la colonisation islamique, dont l'influence fut catastrophique pour les femmes du sous continent indien. Le modèle hindouiste est beaucoup plus complexe que celui chrétien, beaucoup plus exhaustif par la diversité et la multiplicité de ses approches de la femme et de l'être humain en général. Comprendre que La Vérité n'existe que hors du monde, et que le monde du vivant, et de la mort, qui lui est inséparable, est seulement le lieu où se rencontrent et s'affrontent des vérités partielles et multiples, d'apparences contraires, est un privilège multiséculaire de la pensée hindouiste. Un privilège spirituel, mais aussi conceptuel, rationnel. De l'ordre d'une raison humble qui n'est pas celle, orgueilleuse, prétentieuse, de la Déesse Raison des "Lumières".
Mais c'est un fait que le modèle catholique et orthodoxe a été à la base d'une société comparativement plus libérale pour la femme que dans bien d'autres civilisations. C'est en réalité avec la révolution française et le code napoléon que le statut de la femme va considérablement régresser en France et à sa suite dans toute l'Europe. Il faudra attendre l'entre deux guerres, et parfois même après la seconde guerre mondiale, pour que le statut de la femme européenne récupère quelque égalité comparable à ce qui était son statut à l'époque médiévale ou au 18è siècle.
C'est un fait aussi que cet archétype de la femme a inspiré magnifiquement l'art européen. Cette conception de la femme a été créatrice de Beauté et de Sens pendant plusieurs siècles, même au delà de la stricte période où l'idéologie religieuse catholique ou orthodoxe a régné sans concurrence aucune sur l'Europe.
La foi de cette époque n'est plus partagée par une grande majorité de la population contemporaine en Europe. Mais la signification morale et sociale de cette peinture, de ce modèle de la femme, reste accessible à beaucoup de monde. Même aux athées, aux agnostiques ou aux croyants en d'autres idéologies, religieuses ou profanes. Le fait que ce modèle soit aujourd'hui la cible privilégiée de certaines idéologies contemporaines démontre sa permanence dans les mentalités occidentales, sans parler des autres cultures, inspirées par l'islam, l'hindouisme, le bouddhisme, le confucianisme.
Il en est de même de la beauté de cet art. Son esthétique n'est pas sérieusement remise en cause.
Comme pour l'art paléolithique, l'art de la Crète minoenne, l'art égyptien, l'art gréco-romain, l'art hindou, l'art bouddhiste, l'art des lettrés chinois, l'art japonais, l'art musulman, l'art amérindien, l'art nègre etc... Le Beau, diversement apprécié à titre individuel, et le Sens, le sens global, la signification essentielle, restent universellement perceptibles. Malgré la diversité des cultures, la succession des générations, et les différences de croyances.
Un art réellement universel, pas mondialiste. car cet art qui a franchi l'épreuve du temps et des civilisations est le témoin d'une diversité nécessaire à la Vie. La diversité des cultures, des croyances, des idéologies, c'est à dire leur respect, et le respect du territoire nécessaire à leur épanouissement, est aussi importante que la diversité et le respect des êtres vivants et de leurs biotope.
(A suivre ! )
THE WOMAN IN THE PAINTING OF CATHOLIC EUROPE
Art in general, and painting in particular, bear witness to the importance accorded to women in European civilization.
But the image of women has evolved according to the ideological context, the beliefs in force at this or that time in European history.
By starting the European art history around 500, ie with Christianity, the subject of women in the painting of Europe will be evoked through five dossiers :
1 ° The woman in the painting of Catholic Europe. From 500 to 1500 approximately. However easel painting began only around 1300. Previously painting is manifested through the frescoes, mosaics, stained glass and in books: the illuminations.
2 ° The woman in the painting of Catholic and Humanist Europe. From 1500 to 1800 approximately
3 ° The woman in the painting of the Protestant Netherlands in the 17th century
4 ° The woman in the painting of the ideologically plural Europe of the 19th century. 1800-1950 approximately
5 ° The woman in the Official Contemporary Art. 1950 ...
Women have a very present image, even omnipresent, and very favorable, from certain angles of view, in the Catholic religion and in the Orthodox religion. An image evidenced by the art of painting, with its innumerable representations of the Virgin Mary, and his many holy women .
These images of the women were fundamental not only by their religious influence, but also ont the society as a whole. The whole culture of Europe, from the bottom to the top of the social ladder, has been influenced by this constant representation of the woman , especially of the mother and the child.
Of course, Mary and the Holy Women have nothing to do with the goddess of Love, (Aphrodite-Venus) or hunting (Artemis-Diane), nor with the Nymphs pursued by Apollo or Pan, nor with the Bacchantes and Maenads who accompanied Dionysus.
Christian Europe undoubtedly constitutes a very deep ideological break with the world views that were those of Greco-Roman antiquity.
With Christianity the naked woman disappears. The only exception to the non-representation of the female nude in the art of Catholic Europe is Eve. Given the paradisiacal context, it was not possible to dress Eve or Adam before the Fall. Two leaves were enough. It was only after the Fall that it was possible to cover them with a sheepskin. There had been a climatic cooling of an ideological nature. Climate cooling, like climate warming, is often only ideological.
The ideal woman, in Catholic and Orthodox Europe, thus dresses, and eroticism is totally absent from medieval painting. The Gospels are not conducive to eroticism. Throughout the Romanesque and Gothic period the Old Testament is not a very important source of inspiration for European painting. So not yet "Lot and his daughters", "Bathsheba or Suzanne in bath", no Judith séductive and vengeful. It will be necessary to wait for the second period, after the "Renaissance". We will see why.
The ideal woman does not veil herself . It is the image of the Virgin and the Mother that absolutely prevails with Christianity. Love always, but the sacred and mystical love and the maternal love, succeed to the profane Love. God is not Zeus, he does not run after girls.
This image of the woman, even "only" virgin and mother, has contributed much to create a social and political situation of the woman infinitely more favorable in Europe than in other civilizations, in particular China and Islam. With the exception, however, of the Indian civilization which has also multiplied the images of the Goddess and the woman in general. Without excluding the female nude and without ignoring sexuality and eroticism. This Hindu characteristic, the integration of physical love in philosophy and religion is unique to the scale of the great civilizations of our era. It will not be taken up by the current derived from Brahmanism that is Buddhism.
At the roots of European culture, the Greek goddesses certainly had an eminent status, almost equivalent to the Gods. But the role of the Greek woman, the mortal and not divine, was usually quite limited to private life. In Roman society, it is true, the situation was very different, from the end of the Republic. It is attested by history that the victorious implantation of Christianity in the Roman Empire owes a great deal to the women of the Roman Empire. The large number of female martyrs, generally of high society, victims of various imperial persecutions before Constantine the Great is proof of this.
It seems that the importance of the social role of women in European society has also had its roots in certain aspects of the culture of the peoples of Europe north of the Alps: Celts, Germans, Scandinavians, Slavs. But the Christian, Catholic and Orthodox religion has given women a decisive importance in European society. The worship of the Virgin is not in the Gospels. The adoration of Mary is unquestionably a creation of the Catholic and Orthodox Churches. But this creation, which current ideologues describe as idolatrous, without wanting to admit that they too are worshipers of other less innocent idols, has had considerable social and political impacts on European civilization.
The long struggle of the Church to impose indissoluble marriage was directed against the Germanic practices of repudiation of women at the initiative of man alone. The best-known examples obviously concern the aristocratic and royal families of Europe, such as the King of France, Philippe Auguste. This image of the defenseless virgin woman, or wife and peaceful mother and protector of childhood and the weak has also contributed much to appease a society in which political legitimacy rested on the force of arms, physical violence.
Mary is not only the Virgin with the Child or the Mother at the foot of the cross, the "Mater Dolorosa" of the Pietas and Entombments. Mary is also the wife of the innumerable Marriage of the Virgin, Visitations, Nativitys, Adorations of the Magi or Shepherds, Flight in to Egypt, Presentations in the Temple, Circumcision. In all this iconography, the husband, Joseph, is always discreetly but clearly present.
And this is obviously not a coincidence, but the translation of a desire of the Church to affirm the importance of the role of the family unit. We must add the "Holy Families" or "Holy Relatives", which are also numerous, and which extend the model to the circle of a family larger than the parental couple.
This "feminist" effort, inside the concept of the family, is a statement of fact that results from the mere observation of Catholic art. A statement of fact that greatly displeases certain ideologies, both secular and religious, currently dominant in Europe, which have tirelessly striven, for three centuries, to give, of the Catholic and Orthodox religions, an image of stupidity, and of backwardness.
It is this model of the woman and the family, a universal model, not only Catholic, which has been targeted for half a century by the ideologues at the service of the Great Influents who dominate the West. Proof that the model of society that was that of Catholicism still bother many projects of some contemporary sects.
Throughout the Gothic period the woman is triply symbolic.
- Symbol of the fall of man (Eve) Then symbol of his redemption (Mary). First dialectical symbolic, subtly evocative of the relations between man and woman.
- Symbol of sacred, mystical love, with the Virgin Mary and the saints. Symbol also of the love of the child and the family.
- More global symbol of the love of beings and their protection, especially the poor and the weak against the rich and the violent. This symbol is evoked by the iconography of Virgins of Protection or Mercy.
The feminism of the Catholic civilization is still very clearly apparent in the art of official portraits, from Theodora to Blanche of Castile to Eleonor of Aquitaine, women have not ceased to hold an important political role in Catholic Europe . Not only in the kingdom of France. They ruled Spain (Isabella of Castile), the Italian cities (Mathilde of Florence), and held a constant political role in the principalities and duchies (Béatrice de Provence, Anne of Brittany), counties and seigneuries . A political role that will continue during the period of Catholic and Humanist Europe (Catherine and Marie de Medici, Maria Theresa of Austria, Elizabeth I of England ..). A political role that will only cease as a result of the French Revolution. This observation of the eminent and official political role, not only in the secrecy of the alcoves, of the woman can not be done in the Muslim countries, in Japan, in India, even in non-Islamized India and rarely in China, that has however known some empresses, fearsome wives.
The particularity of this medieval catholic art is to have been univocal and intersocial.
- Univocal, because this art is the expression of a unique ideology: Catholic Christianity in Western Europe, Orthodox Christianity in the East. A religious ideology that has no serious competition in medieval society, and which totally models European society, in a relatively effective way, both ethically and aesthetically.
- Inter-social, because it is indeed an art shared by all layers of the European population from the top to the bottom of the social ladder. This art is of course ideologically conceived and even imposed by the aristocratic, religious and secular elites of time. But it is performed by artists-artisans who are all of popular origin, and it is intended for an audience that represents all social classes, from the aristocracy to the illiterate peasantry. There is no art reserved for this or that category of the population, no art for the elite, no art, different for the people. The whole society has the same art.
Criticism is easy, but there is worse as a female model.
Conceptually the Hindu model is very superior. Of course the Hindu model before the Islamic colonization, whose influence was catastrophic for the women of the Indian subcontinent. The Hindu model is much more complex than the Christian one, much more exhaustive by the diversity and the multiplicity of its approaches of the woman and the human being in general. To understand that truth exists only, out of the world, and that the world of living, and of death, which is inseparable to it, is only the place where meet and confront each other partial and multiple truths, of opposite appearances, is a multisecular privilege of the Hindu thought. A spiritual privilege, but also conceptual, rational. On the order of a humble reason, who is not the one, proud, pretentious, of the Goddess Reason of the "Ligths".
But it is a fact that the Catholic and Orthodox model has been the basis of a comparatively more liberal society for women than in many other civilizations. It is in fact with the French Revolution and the Napoleonic Code that the status of women will considerably decline in France and throughout Europe. It will be necessary to wait between the two wars, and sometimes even after the second world war, so that the status of the European woman recovers some equality comparable to what was its status at the time medieval or the 18th century.
It is also a fact that this archetype of the woman has beautifully inspired European art. This conception of the woman has been creative of beauty and meaning during several centuries, even beyond the strict period when the Catholic or Orthodox religious ideology reigned without any competition on Europe.
The faith of this time is no longer shared by a large majority of the contemporary population in Europe.
But the moral and social significance of this painting, of this model of woman, remains accessible to many people. Even atheists, agnostics or believers in other ideologies, religious or secular. The fact that this model is today the privileged target of certain contemporary ideologies demonstrates its permanence in Western mentalities, not to mention other cultures, inspired by Islam, Hinduism, Buddhism and Confucianism.
It is the same with the beauty of this art. His aesthetic is not seriously questioned.
Like for Paleolithic art, the art of Minoan crete, Egyptian art, Greco-Roman art, Hindu art, Buddhist art, the art of Chinese scholars, Japanese art, Muslim art, Amerindian art, Negro art, etc. the Beauty, variously appreciated individually, and the Sense, the global sense, the essential meaning, remain universally perceptible. Despite the diversity of cultures, the succession of generations, and differences in beliefs.
A truly universal art, not globalist. Because this art, which has passed the test of time and civilizations, is the witness of a diversity necessary for Life. The diversity of cultures, beliefs, ideologies, ie their respect, and respect for the territory necessary for their development, is as important as diversity and respect for living beings and their biotope.
(To be continued!)
For the 5 kilometre race results and photos...here are the local (Ottawa & area) participants -- sorted by cities and first name -- in the September 19, 2010, Canada Army Run held in Ottawa, Ontario.
Click here and enter the bib numbers for the full individual race results. Race photos here. (6,760 runners in the 5 km race)
Thank-you to Sportstats.
Part A. Ottawa (see below)
Part B. Other Communities (Alexandria to Navan) (Click here.)
Part C. Other Communities (Nepean to Woodlawn) (Click here.)
Part A:
12036…Aaron Kennedy
12454…Acton Kilby
7417…Adam Daniow
10248…Adam Mcleod
12409…Adam Yahn
13856…Ademir Vrolijk
14356…Adrien Barrieau
12050…Afton Maisonneuve
8420…Agathe Houle
14250…Ahmad Sakr
14321…Ahsan Ahmed
14600…Aidan Westdal
9010…Aime Larochelle
7952…Airi Trant
8265…Al Charron
7187…Al Thompson
14035…Alain D'arbelles
9532…Alain Desgranges
10416…Alain Dionne
7861…Alain Rabeau
7504…Alan Bolster
7001…Alan Tomalty
8715…Alana Blouin
14025…Alana Detenbeck
12757…Alana Fong
14499…Alana Macewen
9662…Alanna Macaulay
12132…Alanna Yaraskavitch
7983…Alecks Zarama
10172…Alex Braden
14052…Alex Graham
14102…Alex Lyon
12729…Alex Patch
13192…Alexander Gaillard
10699…Alexander Leslie
13108…Alexandra Desouza L'heureux
9008…Alexandra Laplante
12105…Alexandra Vincent
13636…Alexandre Poiget
14153…Alexandre Prenoveau
12894…Alexandria Beck
11577…Alexandria Gerrior
9743…Alexis Leblanc
14322…Ali Belbachir
14036…Ali El-Jaby
10402…Alice Leung
10095…Alicia Li
10008…Alicia Noonan
14423…Alicia Whiting
12911…Alison Benn
8853…Alison Evans Adnani
8468…Alison Jerome
14363…Alison Mckittrick
12825…Alison Morris
9474…Alison Pier
8753…Allison Cassie
8343…Allison Coons
10422…Allison Desroches
14031…Allison Downton
8137…Allison Ellis
14109…Allison Mackenzie
13372…Ally Lamothe
10360…Allysan Dinn
13439…Almut Macdonald
8777…Amanda Colton
12815…Amanda Elliott
8965…Amanda Kalbfleisch
11944…Amanda Krisciunas
5786…Amanda Pavlovic
10440…Amanda Pyykonen
13867…Amanda Watson
10150…Amanda Weatherdon
7950…Amanda-Kate Tracy
7820…Amber Nickerson
11904…Amelie Armstrong
9881…Amelie O'sullivan
7793…Amira Mohamed
8675…Amy Arcand
14489…Amy Cambell
13313…Amy Johnson
12176…Amy Jutras
12097…Amy Muller
9823…Amy Read
13690…Ana Robert
8532…Anaek Jande
9304…Anastasia Tserotas
8013…Andre Marin
14115…Andre Materman
7941…Andre Thivierge
8682…Andrea Auger
12109…Andrea Brauner
8285…Andrea Chippa
9491…Andrea Ethier
12541…Andrea Evans
8969…Andrea Karklins
10902…Andrea Mccaffrey
4782…Andrea Mrozek
7874…Andrea Rousseau
12690…Andrea Szenteszky/Merils
10976…Andrea White
8466…Andreas Reichert
12372…Andreas Vander Pluym
9374…Andree Ball
12982…Andrew Buchan
7528…Andrew Butson
9822…Andrew Cooney
12485…Andrew Currie
12275…Andrew Fainer
12009…Andrew Fourney
8488…Andrew Harris
7290…Andrew Keleher
10152…Andrew Klassen
12527…Andrew Leslie
14319…Andrew Lessard
10113…Andrew Maffre
14111…Andrew Mallam
12863…Andrew Mcdougall
14515…Andrew Mendes
11901…Andrew Mulawyshyn
13630…Andrew Pinsent
7362…Andrew Roberts
8599…Andrew Robertson
12741…Andrew Woolsey
14206…Andrew Zurowski
10401…Andy Burgess
10238…Andy Shelp
9569…Andy Wielgosz
9427…Angeline Law
7429…Angelo Garcia
9202…Angelo Ricci
9714…Angie Ermel
9550…Anika Rowland
8678…Ann Arsenault
9328…Ann Walton
11194…Anna Macintyre
14239…Anna Von Dadelszen
8072…Anne Bailliu
12504…Anne Bauer
3838…Anne Biscope
8719…Anne Bowker
14493…Anne Edwards
14443…Anne Ethier
12143…Anne Fitzpatrick
13946…Anne Thombs
13957…Anne-Sophie Alarie
8362…Annette Lebel
10677…Annik Beaudry
7866…Ann-Marie Reid
13975…Anthony Barnshaw
12643…Anthony Glaser
10240…Anthony Ippolito
10532…Anthony Weeks
14151…Antoine Plenderleith
14476…Anyk Glussich
10169…April Whitehead
12251…Arlene Maciver
13320…Armin Kamal
9113…Arthur Moulie
10256…Aruna Rajulu
12850…Ash Ahmadzadeh
13528…Asha Mohiddin
7826…Ashlee Oleinikow
9971…Ashley Browne
12394…Ashley Butcher
7214…Ashley Lavery
7775…Ashley Mccann
6259…Ashley Tannis
8236…Ashley Tuttle
14150…Audrey Perreault
12736…Audrey Vermette
9884…Austen Brown
8130…Avery Stirling
13710…Barbara Routliffe
11305…Barbara Saville
9377…Barry Dupont
13391…Barry Le Grys
12714…Barry Lemoine
8459…Barry Rowland
13465…Beatrice Maluski-Cain
13556…Ben Murray
7529…Benjamin Buttera
8029…Benjamin Oman
9533…Benny Ling
14338…Bernard Tremblay
13718…Beth Sabourin
13644…Beth-Anne Poulin
11409…Betty Letendre
10798…Bev Carroll
8879…Bev Furniss
10197…Bill Grand
10455…Bill Mackay
7376…Bill Rostek
11903…Bill Salminen
7533…Bingbing Cai
13069…Blair Crawford
7345…Blake Carruthers
9530…Blake Dooley
13638…Blake Poirier
13829…Blanche Tree
9501…Bob Eagleson
14117…Bob Mccrindle
13551…Bob Muise
9523…Bob Ryan
13947…Bob Thombs
13515…Bogaah Mensah
12276…Bonnie Boretsky
11985…Bonnie Vinet-Paradis
9548…Borishka Croteau
9622…Brad Mills
13905…Brad Young
7585…Bradley Davis
9084…Brady Meldrum
14268…Breanna Muller
7543…Brenda Cerson
8404…Brenda Etchells
9405…Brenda Quinlan
14632…Brendan Potter
9135…Brent Odonnell
7167…Brent Pilon
7246…Brent Weatherdon
8527…Brett Mac Lean
9789…Brett Maxwell
9894…Brian Blanche
12898…Brian Deeks
13157…Brian Fava
10215…Brian Kells
13534…Brian Montgomery
7029…Brian Radey
7011…Brian Rolfe
13251…Brianna Harris
13206…Bridget Gervais
14581…Bridget Kehoe
7225…Bridget Mallon
14520…Brigid Bedard
10026…Brigitte Archambault
13121…Brigitte Dionne
12008…Brigitte Menard
9559…Britt-Mari Sykes
10176…Bronwyn Anderson
10083…Bruce Covington
7310…Bruce Donaldson
12389…Bruce Fischer
9702…Bruce Waid
13591…Bruno Paltrinieri
9464…Bryan Mackay
14288…Bryce Halls
11546…Bryce Lemoine
7332…Bunny - Andy Fong
8518…Bunny - Gary Rush
7326…Bunny - Liam Ohuiginn
8519…Bunny- Bruce Moquin
7333…Bunny- Ellen Campbell
7329…Bunny- James Wildsmith
7331…Bunny- Julia Fournier
7330…Bunnypatrick Girard
11123…C Soulodre
12087…Caitlin Devlin
14172…Caitlin Salvino
7728…Caludia Langevin
11126…Calum Urzinger
7663…Calvin Hanselmann
8795…Cameron Cribb
13637…Camille Poiget
13876…Camille West
7087…Candace Anderson
8491…Candi Ager
12060…Candi Munroe
7699…Carey Jones
12064…Carl Perreault
8389…Carla Pino
13679…Carleen Ridley
10135…Carly Parrish
9138…Carol Anne Owen
8595…Carol Campbell
14064…Carol Huffman
7204…Carol Mclean
12107…Carol Rosenthall
10746…Carol Skillen
9760…Carole Quenneville
13813…Carole Thomas
11906…Caroline Ebata
8058…Caroline Lavigne
14232…Caroline Matt
7805…Caroline Murray
7545…Carolyn Chacksfield
12173…Carolyn Charters
12257…Carolyn Fornataro
9100…Carolyn Montague
7286…Carolyn Turner
9209…Carrie Roberts
9037…Carrol Lunau
12069…Carter Saunders
13008…Casey Carswell
7544…Casey Cerson
7032…Cassidy Leclerc
7530…Catarina Buttera
14425…Catharine Brady
7596…Catherine Desmarais
11973…Catherine Griffin
9495…Catherine Jackson
14447…Catherine Jolicoeur
12084…Catherine Mackin
7862…Catherine Radatus
10251…Catherine Sainte-Marie
13752…Catherine Siot
14456…Catherine Winters
7977…Catherine Wood
8108…Cathy Jackson
9044…Cathy Maclean
12245…Cathy Nolan
7949…Cavell Townley
10465…Celeste Irvine-Jones
7505…Celia Bond
7436…Chandrashan Premakanthan
12492…Chantal Brisson
8351…Chantal Evans
9605…Chantal Nicholson
9480…Chantal Rosenberger
8239…Chantal Roy
13736…Chantal Sayde
7563…Chantale Cobbold
9419…Charlene Winchester
10558…Charles Bernard
8067…Charles Frost
14407…Charles Trombley
7439…Chelsey Quirk
12833…Chenchen Hou
14543…Cheri Reddin
14208…Cherinet Seid
12495…Cheryl Brouse
12574…Cheryl Caldwell
7464…Chloe Adlard
8587…Chris Anderson
12971…Chris Brown
14462…Chris Bygrove
8122…Chris Carruthers
8762…Chris Chartrand
9508…Chris Coveny
7579…Chris Dauphinais
7582…Chris Davey
9835…Chris Davis
14599…Chris Denison
14227…Chris Garrioch
11431…Chris Goddard
14485…Chris Goy
10264…Chris Hale
14509…Chris Holmes
11954…Chris Isaac Mckay
12774…Chris Jourdeuil
7725…Chris Lamarre
13373…Chris Landry
14097…Chris Li
7334…Chris Lynam
13519…Chris Mick
9096…Chris Moffit
7800…Chris Morash
14411…Chris Mullins
13641…Chris Polowick
9588…Chris Schroeder
7403…Chris Sheridan
9303…Chris Travers
7062…Christa Van Sickle
12327…Christene White
11889…Christian Figueredo
10368…Christian Giguere
7931…Christie Swann
12670…Christina Chevrette
8516…Christina Kaeser
9460…Christina Leclerc
14369…Christina Leibbrandt
14220…Christina Silmser
8317…Christina Sluyter
10093…Christina Yee
14552…Christina Young
11898…Christine Atwood
11920…Christine Besnard
7517…Christine Bray-Duhamel
8860…Christine Fikis
9490…Christine Ford
8299…Christine Foster
13408…Christine Leon
11008…Christine Nicasio
10874…Christophe Kervegant-Tanguy
9630…Christopher Cullen
9441…Christopher Fillmore
14432…Christopher Knowlton
10359…Christopher Macarthur
13471…Christopher Marton
7873…Christopher Rotherforth
9492…Christopher St. Jacques
13604…Christy Peeters
7142…Chuck Bing
7726…Chuck Lamarre
14200…Cici Waugh
13980…Cindy Bennett
13109…Cindy Desouza L'heureux
7940…Cindy Termorshuizen
13979…Claire Baudry
9698…Claire Cockburn
7684…Claire Horwich
12070…Clara Saunders
7591…Clare Demerse
7743…Clarissa Lewis
7896…Claude Schryer
12420…Claudette Moise
10297…Claudia Hintz
9947…Clayton Ryder
12157…Clinton Laidlaw
10321…Cody Gaudet
7586…Cole Davis
8640…Colin Kelly
7216…Colin Muldoon
7551…Colt Charlebois
14242…Colt Hardcore
12044…Connie Paris
9040…Connor Macdonald
13447…Connor Mackenzie
13520…Conor Middleton
10258…Conrad Hladik
14466…Corinne Ginnish
12152…Corrina Morehouse
13156…Costas Farassoglou
13959…Courtney Anderson
7855…Courtney Powless
4785…Craig King
7718…Craig Kuziemsky
8556…Cricket Riberdy
9928…Criss Gibran
12807…Crystal Foubert
9035…Crystal Louie
12468…Crystal-Lee Rooney
12874…Crystel Marly Arseneault
7418…Curtis Smith
9543…Cyndi Demers
13021…Cynthia Chaput
12112…Cynthia Desnoyers
9679…Cynthia Gee
12586…Cynthia Horvath
13900…Dalaila Wyse
9587…Dale Brown
7289…Dale Potter
12823…Dalelle Mensour
13440…Damian Macdonald
7121…Dan Mckinney
10456…Dan Mikaelian
8656…Dan Newell
12446…Dana Pandolfi
9159…Dana Paul
14216…Daniel Albahary
9918…Daniel Giguere
13302…Daniel Jamieson
13492…Daniel Mcguire
12646…Daniel Morris
14133…Daniel Muir
10027…Daniel Poulin
14408…Daniel Raymond
7442…Daniele Riendeau
9977…Danielle Bernier
12924…Danielle Bisson
13035…Danielle Cirillo
8199…Danielle Cormier
7046…Danielle Fainer
12338…Danielle Grenier
13270…Danielle Hoegy
7735…Danielle Lee
9183…Danielle Plunkett
7554…Danny Chin
7156…Dany Huard
12764…Daphne Vaudry
13580…Dara Ohuiginn
7215…Darcy Lavery
8637…Darcy Terrell
9959…Darl Dimillo
9995…Darlene Charron
9117…Darlene Mulvihill
7188…Darren Clark
13068…Darren Coyle
8920…Darren Handley
12556…Darren Jerome
7283…Darren Knight
7039…Darren Poole
12904…Dave Bellefleur
12512…Dave Carlson
12474…Dave Etchells
8377…Dave Johnson
12715…Dave Johnston
14203…Dave Young
12737…David Badour
14007…David Claxton
14566…David Davidson
8316…David Dimitri
9859…David Elms
13169…David Foster
7655…David Hall
12349…David Leahy
13500…David Mclaren
12255…David Molnar
13651…David Pratt
13683…David Rietkoetter
7889…David Sankoff
8524…David Thorpe
10223…Davide Pisanu
11989…Dawn Styan
11125…Dawn Urzinger
14614…Dean Corno
8066…Dean Duteau
9672…Dean Morewood
10298…Deanne Chafe
10599…Debbie Murray
13613…Debbie Peterson
10407…Debby Barsi
11952…Deborah Broad
11486…Deborah Trotman
12047…Debra Hughes
10454…Deena El-Sawy
12277…Delphine Wallace
9644…Demian Seiden
12552…Denise Gillam-Gledhill
9273…Denise St. Jean
8573…Dennis St. Louis
13869…Dennis Weatherdon
14178…Derek Smith
733…Derrick Marshall
7803…Desirai Moyer
7991…Deven Bhatla
12810…Devon Kampman
10211…Devon Shulist
12077…Devon Taylor
8857…Diana Farah
7580…Diane Dauphinais
12636…Diane Dupuis
12611…Diane Gallant
13039…Dianne Clarke
9985…Dimitris Foss
13428…Dino Luberti
7213…Dominic Lessard
7200…Dominik Rymsza
10336…Dominique Ansell
9553…Dominique Baker
7211…Dominique Chiasson
13470…Dominique Martel-Lamothe
9488…Dominique St-Denis
7953…Dominique Trudeau
10647…Don Eatherley
9376…Don Rooke
7467…Donald Allan
8798…Donald Cumming
9403…Donna Blois
12074…Donna Dufour
8031…Donna Mirasty
13747…Donna Sianchuk
14188…Doreen Taylor-Claxton
9766…Doris Chu
1069…Doris Mclean
13572…Dorota Nierobis
12602…Doug Crummey
14426…Douglas Briscoe
13421…Douglas Loader
13892…Douglas Wong
7210…Duncan Elbourne
8724…Ed Brady
12342…Edith Bernard
14459…Edith Bostwick
7761…Edmund Mah
12753…Edouard Larocque
7244…Edward Boushey
7987…Edward Miner
8971…Eileen Keefe
9338…Eileen Whyte
13055…Elaine Copson
13293…Elena Ienzi
10186…Elena Pecherskaya
7849…Elena Petre
9703…Elise Vandette
7008…Elizabeth Burn
10355…Elizabeth Conway
7622…Elizabeth Finnigan
10613…Elizabeth Fournier
14445…Elizabeth Fry
11404…Elizabeth Glover
8896…Elizabeth Goheen
7656…Elizabeth Hall
11956…Elizabeth Hayman
13331…Elizabeth Kerr
7956…Elizabeth Valentine
12762…Elizabeth Vaudry
14224…Elizabeth W12
9549…Ella Rowland
7923…Ella Stewart
11986…Ellen Hogan
9002…Ellen Lamarre
14574…Elly Crow
7248…Elly Robertson
8638…Emery Terell
8659…Emilie Adams
11919…Emilie Plater
11700…Emily Coleman
14266…Emily Gerbasi
8645…Emily Hamilton
10271…Emily Hewitt
14565…Emily Lafreniere
14293…Emily Lister
13535…Emily Montgomery
13676…Emily Rick
12481…Emily Thomas
9855…Emily Vingerhoeds
11403…Emma Cianfaglione
9125…Emma-Lee Newby
13353…Engelina Kruizinga
13150…Eric Eryou
13409…Eric Lepine
10358…Eric Macarthur
10457…Eric Noel
7903…Eric Shear
13824…Eric Torelli
12557…Erica Leslie
12263…Erich Farrell
11990…Erik Jolliffe
12696…Erika Williams
7486…Erin Beasley
14615…Erin Beck
7564…Erin Collins
333…Erin Drybrough
8344…Erin Johnstone
8020…Erin O'higgins
8621…Erin Sarsfield
12014…Erma Seekings
7473…Ernesto Angeles
10324…Eryn O'niell
7513…Estelle Bourlon
12229…Esther Moghadam
13357…Ethan Labelle
12455…Ethan Macdonald
13877…Eunice West
14080…Eva Lacelle
8164…Eva Rehder
8581…Evelyn Lannon
13328…Faye Kennedy
12686…Florent Fournier
11735…Fortino Cruz
14401…Fran Enright
8697…France Beare
12804…Francine Vachon
8340…Francois Bak
1553…Francois De La Chevrotiere
13592…Francois Paltrinieri
14155…Francois Proulx
13426…Frank Lozanski
10651…Fred Pelletier
10394…Frederic Theriault
12632…Frederick S. Gannon
10450…Gabriel Bouchard
7428…Gabrielle Lambert
9110…Gabrielle Moser
12549…Gabrielle Nadeau
7722…Gaetan Laforest
8293…Gail Harlow-Bolt
9528…Gary Avann
14277…Gary Cunningham
12763…Gary Vaudry
8315…Gemma Riley-Laurin
10075…Genevieve Cholette
12675…Genevieve Gales
8925…Genevieve Harte
12363…Genevieve Joly
7721…Genevieve Lacroix
10325…Genevieve Lemieux
9061…Genevieve Martin
8391…Genevieve Sorel
14267…Geoff Blair
7426…Geoff Plint
13887…Geoff Wilson
10446…Geoff Wilton
11933…George Kovacs
13396…George Leblanc
14214…George Marko
12745…George Mcleod
8390…George Reklitis
8399…George Weber
13811…Georges Thenor-Louis
13024…Gerry Chartrand
10432…Ghaith Dhaidan
8654…Gianna Inglese
13060…Gil Couch
10331…Gilles Duguay
10107…Gillian Goddard
12811…Gillian Howell
13677…Gillian Rick
14002…Gina Charos
7311…Gina Donaldson
12170…Gina Landriault
10923…Gina Palmese
7975…Gina Whiting
8143…Ginette Miron
7828…Ginette Orlicky
9759…Gino Moretti
8125…Giovanni Vivolo
8371…Gisela Grossman
12295…Gisele Steele
12838…Giuseppe (Joey) Porchetta
12536…Gizem Eras
9718…Glen Pilon
13087…Glenda Davies
13175…Glenn Franklin
8252…Glenn Horne
10799…Glenn R. Carroll
7025…Gloria Hache
12859…Gordon Allison
7966…Gordon Wallace
12540…Grace Yee
8695…Graeme Beales
7223…Graeme Beare
12901…Graham Bell
8566…Grayson Ivey
8565…Greg Ivey
14221…Greg Jensen
12165…Greg Kimball
13342…Greg Knighton
14333…Greg Pinard
7448…Greg Weatherdon
11972…Gregory Adams
7281…Guy Pitre
11581…Guy Thibault
10379…Hai Nguyen
9277…Hailey Stewart
11191…Hailie Pedley
10293…Hannah Hopkins
9558…Hannah Sykes
7052…Haris Gisavi
11955…Harold Mckay
12678…Harry Ehret
12312…Hayley Goodman
8232…Hazel Stoute
12873…Heather Arnold
10813…Heather Cosgrove
14275…Heather Fisher
11576…Heather Gerrior
11256…Heather Jamieson
9465…Heather Mackay
12311…Heather Macleod
7797…Heather Moore
10139…Heather Munro
14468…Heather Wilson
10244…Heather Woltman
9344…Heather Wright
9503…Hector Capetillo
9360…Helen Huang
9072…Helen Mcdowell
12817…Helena Herby
9150…Helene Paquin
10914…Henri Monette
9426…Henry Strong
9297…Hermelle Thivierge
7193…Hidetaka Nishimura
10763…Hilda Chow
14295…Hiro Dozono
9695…Hollie Mclean
9651…Howard Smith
9323…Howard Voight
13119…Hubert Dinel
13258…Hugo Hazledine
8014…Hugo Marin
7118…Ian Briggs
13082…Ian Dalling
14077…Ian Kluke
9724…Ian Pedley
10719…Ian Thomson
7173…Iryna Karpova
7461…Isabel Chin
13698…Isabel Rodrigue
8694…Isabelle Beach
13984…Isabelle Blondeau
9433…Isabelle D'souza
10160…Isabelle Gilbert
9705…Isabelle Gingrich
12642…J.W.Gilbert Rose
13274…Jack Hopkins
13314…Jack Johnson
9268…Jack Snyder
7453…Jackie Bonisteel
9978…Jackie Oncescu
8604…Jackie Poole
14325…Jacob Cardinal Tremblay
11579…Jacob Thibault
8846…Jacqueline Emery
12106…Jacqueline Guarisco
9009…Jacqueline Laplante
11033…Jacqueline Mackay
7641…Jacques Gobin
13753…Jacqui Sirois
9834…Jacquie Lemaire
12559…Jaffer Majeed
9896…Jaime Mclean
7974…Jaime Whetstone
12771…James Allard
8696…James Beales
12948…James Bowie
14254…James C Stewart
12290…James Cantellow
13115…James Dickson
14440…James Griff
10759…James Hill
13316…James Jones
9396…James Kierstead
9837…James Mcmichael
7180…James Moore
13597…James Paul
7848…James Peters
13649…James Powers
7003…James Pyzevas
7430…James Stewart
7927…James Stockwell
7957…James Vannier
7147…Jamie Bell
7119…Jamie Mclennan
10442…Jamie Ryan
10363…Jamie Snider
10879…Jan Labelle
7724…Jane Lajoie
12834…Jane Le Fresne
9895…Jane Rudolf
7911…Jane Smith
9975…Janel Chiasson
10049…Janet Mcintyre
8686…Janice Bailey
10017…Janice Chan
7984…Janice Zeitz
9493…Jantine Van Kregten
13481…Jari Mccready
14412…Jasmine Viau
14585…Jasmine Vos
7998…Jason Brazeau
8917…Jason Hamilton
7393…Jason Lannon
13410…Jason Leroux
10243…Jason Moreau
7893…Jason Saunders
12617…Jason St.Pierre
14192…Jason Thompson
12478…Jason Warwick
8426…Jason Wiltshire
8608…Jay Asselin
8504…Jay Janzen
13436…Jay Lymer
13601…Jay Paxton
10182…Jay Reid
12425…Jayme Drainville
12427…Jean Daoust
9946…Jean De Bellefeuille
12662…Jean Francois Martel
8746…Jeanette Caron
14523…Jean-Francois Fauteux
11640…Jean-Francois Leduc
13299…Jean-Guy Isaya
7512…Jean-Marc Boulet
12380…Jeannine Bailliu
12122…Jean-Paul Nadeau
10306…Jeff Cranton
13084…Jeff Daniels
7071…Jeff Johns
11169…Jeff Lepoidevin
13420…Jeff Lloyd
7753…Jeff Lockert
7926…Jeff Stiles
12877…Jeffery Attala
13285…Jeffrey Hunter
9967…Jeffrey Pelletier
13888…Jeffrey Wilson
12550…Jenah Thompson
11910…Jenelle Power
12178…Jenna Cormier
8618…Jenna Hurst
8962…Jenna Jones
10367…Jenna Matsukubo
14313…Jenna Stirling
7821…Jennie Nieradka
10559…Jennifer Bennett
8714…Jennifer Blattman
8716…Jennifer Born
13005…Jennifer Carneiro Demers
12787…Jennifer Conley
6507…Jennifer Dagg
8805…Jennifer Dare
12095…Jennifer Dumoulin
12582…Jennifer Fitzpatrick
12062…Jennifer Gibson
8902…Jennifer Grandy
8940…Jennifer Hood
8132…Jennifer Irwin
10153…Jennifer Koussaya-Kent
13406…Jennifer Lemire
7748…Jennifer Lim
8109…Jennifer Macinnis
14606…Jennifer Madigan
9102…Jennifer Moorehead
7798…Jennifer Moores
14544…Jennifer Morin
9437…Jennifer Murphy
9745…Jennifer Naddaf
9937…Jennifer Paul
9194…Jennifer Read
7867…Jennifer Reid
7905…Jennifer Shortall
7319…Jennifer St.Pierre
8512…Jennifer Thiessen
7090…Jeppe Henningsen
12479…Jeremy Ferrall
7930…Jeremy Sumner
13030…Jerome Choi
14023…Jerry Dechnik
14450…Jerry Kovacs
10385…Jessey Basi
8790…Jessica Cox
14497…Jessica Dean
11892…Jessica Fletcher
13174…Jessica Frankland
12345…Jessica Reddin
8346…Jessica Skinner
12166…Jessica Souannhaphanh
7565…Jessie Cook
12851…Jill Aiello
14518…Jill Perry
14193…Jill Thompson
11921…Jim Baker
7587…Jim Davis
7425…Jim Louter
12776…Jim Quinn
12444…Joan Mcewen
9129…Joan Norgren
9207…Joan Riznek-Ricardo
9726…Jo-Ann Pedley
10653…Joanna Lee
13969…Joanne Baker Baker
8406…Jo-Anne Belliveau
12301…Joanne Blackburn
8567…Joanne Ivey
11991…Joanne Jolliffe
11324…Joanne Macneil
9507…Jocelyn Hanna
13598…Jocelyn Paul
8643…Jocelyn Swift
9310…Jodi Turner
12177…Jodie Hoffart
7097…Joe Coballe
7369…Joe Kemp
7301…Joe Kresovic
12099…Joe Marques
8339…Joey Bak
7757…Joey Mackenzie
7273…Joffre St-Martin
14602…Joh N Smith
9547…Johannita Rowland
9852…John Armstrong
7485…John Basile
10795…John Boyd
7534…John Caminiti
12797…John Coltess
8854…John Ewing
7082…John Gazo
9580…John Gibberd
8068…John Gordon
12580…John Nethercott
7830…John Ortiz
9590…John Pasqua
9160…John Pavelich
9174…John Pick
8413…John Rochon
7934…John Szabo
9308…John Turnbull
7037…Johnathan Macdonald
7675…Joleen Hind
10047…Jolene Head
9064…Jolene Maxwell
13526…Jon Moberly
13714…Jon Ruddy
14413…Jonathan Diamantstein
13307…Jonathan Jeffrey
14081…Jonathan Laflamme
12159…Jonathan Laidlaw
7745…Jonathan Liddell
10272…Jonathan Matthews
9106…Jonathan Morley
14179…Jonathan Smith
10119…Jordan Fraser
9866…Jordan Merkas
11029…Jordan Pellerin
9715…Jordy Finnigan
13608…Jorge Perez
8307…Jose Mari Perez
13533…Jose Montes Castilla
7475…Joseph Arbour
12639…Joseph Harding
7816…Joseph Ngare
10090…Joseph Smith
9505…Joseph Wilkinson
12988…Josh Burrill
7016…Josh Moore
13427…Joshua Lozanski
14118…Jovette Mcdonald
8602…Joy Delacruz-Shea
9410…Joyce Contant
9934…Judith Lamesse
10263…Judy Brockelbank
10510…Judy Fox
10361…Judy Lam
8074…Judy Mcintosh
14410…Julia Barry
10373…Julia Garant
11181…Julia Gingrich
11322…Julia Marshall
14332…Julia Nikonorova
11485…Julia Trotman-St. Hill
8075…Juliana Laboucane
9742…Julie Beaulieu
14522…Julie Bedard
10806…Julie Chouinard
9478…Julie Chubb
8837…Julie Dufour
12790…Julie Emond
14075…Julie Keith
13403…Julie Leger
10888…Julie Lesperance
13523…Julie Milligan
10055…Julie Nault
13623…Julie Pickering
13885…Julie Wills
7992…Justin Bhatla
7065…Justin Lalonde
9669…Justin Vienneau
10369…Kaitie Jourdeuil
8483…Kaitlin Bell
7413…Kaitlynn Dinn
7951…Kamil Tracz
6260…Kammal Tannis
9660…Kane Newell
8677…Karen Armstrong
11932…Karen Brown
10010…Karen Elchakieh
11356…Karen Elliott
10842…Karen Frederick
8564…Karen Hurley
12051…Karen Johnstone
8998…Karen Lahay
8447…Karen Leslie
9059…Karen Marshall
10199…Karen Mcnaught
9203…Karen Richard
9466…Karen Sutherland
12001…Karen Vandenhoven
9614…Karen Vinczeffy
7181…Karine Dion
12486…Karyn Lessard
9733…Karyn O'flaherty
7482…Kate Barbosa
8171…Kate Clost
12782…Kate Costello
11649…Kate Headley
13546…Kate Morrison
12637…Kate Todd
9746…Katerina Naddaf
13849…Katerina Venderova
10384…Katherine Swim
13804…Katherine Taylor
7257…Katherine Yee
10108…Kathleen Hurley
7500…Kathryn Blair
12282…Kathryn Gibson
14495…Kathryn Gough
8231…Kathy Crowe
9028…Kathy Litalien
7577…Katie Dalton
14108…Katie Macdonnell
12210…Katie Malcolm
13548…Katie Morrissey
10255…Katrina Ellis
9200…Kayt Render
7040…Kazutoshi Nishizawa
12309…Keith Hendricks
12505…Keith Kawall
7127…Kelly Crawford
10537…Kelly Jung
13333…Kelly Keyes
9831…Kelly Louie
7322…Kelly Mccann
14526…Kelly Patrick
12080…Kelly Stirling
8283…Kelly-Anne Campbell
14442…Kelsey Saha
14580…Kendra Kehoe
14291…Kenneth Coleman
8648…Kerri Hunter
12085…Kerry Maloney
7063…Kerstyn Farrell
8001…Kevin Buttle
9576…Kevin Cotten
13448…Kevin Maclean
9067…Kevin Mccarragher
10412…Kevin Moher
10717…Kevin Platford
10426…Kevin Smith
7235…Kevin Swan
10096…Kevin Wong
12043…Khallad Karime
8748…Kim Carriere
14511…Kim Holmes
13404…Kim Lehto
11802…Kim Ling
8111…Kimberley Coleman
12347…Kimberley Merkas
9728…Kimberly Stewart
8693…Kimby Barton
12640…Kingston Harding
14541…Kirstie Parisien
13346…Klaus Kollenberg
7457…Koni Bennett
13483…Koreena Mcculloch
13742…Kris Shaw
10225…Krista Brown
13889…Krista Wilson
11402…Kristen Cianfaglione
8810…Kristen Decaire
13289…Kristen Hutchinson
13443…Kristen Macgowan
7841…Kristen Parker
7732…Kristin Le Saux-Farmer
8839…Kristina Dyck
14479…Kristina Jensen
12490…Kristine Baker
14348…Kristine Dempster
10307…Kristy Fleet
7365…Krzysztof Malczynski
13107…Kyle Desormeaux
6504…Kyle Klumper
13502…Kyle Mclaughlin
14344…Landen Moore
9650…Larkin Mosscrop
8309…Larry Hoskins
52…Larry Mccloskey
13578…Larry O'brien
12980…Lars Brusven
14022…Laura Dawson
9981…Laura Garrow
9911…Laura Griffin
13244…Laura Halpenny
8489…Laura Harris
12180…Laura Johnson
12731…Laura Kealey
8189…Laura May
12330…Laura Meaney
13509…Laura Medeiros
13660…Laura Radey
14173…Laura Scholtes
8325…Laura Ziebell
14628…Laureen Harper
11915…Laurel Murray
7646…Lauren Gouchie
8954…Lauren Hutchings
8302…Laurie Hunt
12742…Leanne Forman
9858…Lee Jacobs
8526…Leif Thorpe
12635…Lenka Acreman
9694…Leo Kiu
8437…Leonard Post
12068…Lesley Kathnelson
11999…Lesley Mackay
13866…Lesley Warren
11968…Leslie Blades
14096…Leslie Levita
9099…Leslie Mondle
13669…Leslie Rendell
8303…Leslie Youngson
8350…Lia Hiltz
14289…Liam Bell
13218…Liam Gordon
9118…Liam Mulvihill
14539…Liam Price
12259…Liam Wood
12941…Lianne Bouffard
14608…Lianne Wright
10584…Lilly Wood
8701…Linda Beehler
12142…Linda Desgranges
10849…Linda Hall
9369…Linda Leung
8438…Linda Post
12189…Linda Yusak
12865…Lindsay Andrusek
12806…Lindsay Doyle
8276…Lindsay Sinclair
10235…Lindy Ledohowski
10688…Linsay Janzen
8097…Lisa Calloway
9950…Lisa Cox
8867…Lisa Forbes
13204…Lisa Georges
8892…Lisa Gibson
10046…Lisa Hamilton
12840…Lisa Mouchet
9185…Lisa Poirier
10712…Lisa St-Denis
8627…Lisa Valentino
10396…Lise Brandi-Hansen
7096…Lise Piche
8427…Lise St-Andre
12949…Lissa Boyd
8287…Liz Goodman
7293…Liz Maguire
12480…Loretta Saunders
10988…Lori Di Pierdomenico
12028…Lori Eagleson
10736…Lori Pepper
10583…Lori Wood
14572…Louis Romeo Montgrain
9440…Louise Fortin
9114…Louise Moulie
12459…Lucas Mcgreal
10241…Lucia Monique Ippolito
14434…Lucie Tasse
13547…Lucy Morrison
9057…Luize Marie Marquez
9494…Lukas Ratkowski
8401…Luke Allan
12227…Luke Young
9469…Lyn Crozier
10816…Lynda Cronin
13173…Lynda Franc
8237…Lyne Billings
9178…Lynette Pike
8872…Lynn Fournier
12824…Lysann Boisvert
14467…Lyse Patenaude
9451…Mackie Elliot
12780…Maddy Gibson
13895…Madeleine Woods
9589…Madison Schroeder
10309…Maggie Pawelec
10817…Magnus Cronin
7606…Manon Drake
14364…Marc Andre Bouchard
7058…Marc Berube
14514…Marc Dumaine
9017…Marc Lefebvre
7282…Marc Magierowicz
11942…Marc St Pierre
7053…Marcel Losier
8852…Marcia Evans
7769…Marcia Matsuo
12443…Marco Vocisano
8653…Marcus Ibbotson
9768…Marek Szymborski
8065…Marg Duteau
12220…Margaret Coleman-Mclean
9910…Margaret Hazel
11117…Marguerite Joyce
12246…Maria Barrett
12181…Maria Gomez
11908…Maria Lemus
10466…Maria Menard
7802…Maria Mottillo
9916…Marian Kneitz
10050…Marie Andree Paquin
12201…Marie Avila
9938…Marie Cocking
13138…Marie Dupuis
9531…Marie Engelmann
8891…Marie Gervais
10072…Marie Martin
12603…Marie Paul
10535…Marie Poirier
13599…Marie-Eve Paul
12664…Marie-France Horton
12362…Marie-France Joly
8086…Marie-France Sexton
7212…Marie-Jeanne Carola
8921…Marie-Lise Handley
12158…Marilyn Laidlaw
12033…Marina Murphy
11893…Marion Ings
8337…Marion Lapham
7772…Marion May
8942…Marisa Hopp
9512…Mark Bracko
13994…Mark Budd
8755…Mark Caverson
8885…Mark Gaillard
13217…Mark Goodchild
10265…Mark Menary
7850…Mark Phillips
7370…Mark Thompson
13825…Mark Totten
11951…Marlene St Pierre
13583…Marni Oliver
12183…Marta Gomez
10365…Marta Jarzabek
10249…Marta Piresferreira
13816…Martell Thompson
7498…Martin Bisson-Dubois
7056…Martin Gerrits
13363…Martin Laflamme
10299…Martin Stahl
14496…Martine Goulet
8698…Mary Beaudry
11966…Mary Brassard
11897…Mary Van Buren
12449…Mary-Ellen Maybee
13719…Mathew Sabourin
7601…Mathias Dormann
12411…Mathieu Stanton
7144…Matt Closs
8960…Matt Jelly
7837…Matt Paquette
8529…Matt Riopelle
8028…Matthew Arnott
7420…Matthew Bernhardt
12961…Matthew Brean
12965…Matthew Britt
13027…Matthew Chiasson
14008…Matthew Claxton
10809…Matthew Clement
12812…Matthew Colvil
7773…Matthew Mayer
10602…Matthew Pappas
9966…Matthew Pelletier
13411…Matthieu Leroux
13392…Maud Le Monnier
12171…Maureen Carroll
12581…Maureen Mccann
7315…Maureen O'connor
7833…Maureen O'Higgins
8893…Max Gibson
9368…Maxime Plater
10287…Maximilien Haghighat Talab
8767…May Chow
7995…Maya Aden
13168…Maylanye Fortin
7845…Meena Paul
7044…Megan Halhed
13287…Megan Hurley
14586…Megan Mcleod
12316…Megan Paterson
7360…Megan Rocquin
10339…Megan Trottier
9668…Meggan Phelan
8000…Meghan Bryant
9885…Melanie Burston
10357…Melanie Carkner
12250…Melanie Dubeau
7619…Melanie Farrell
13319…Melanie Jupp
10644…Melanie Mitchell
7381…Melanie Patina
9097…Melinda Mollineaux
13576…Melinda Nycholat
8789…Melissa Cosman
7576…Melissa Dahabieh
12344…Melissa Favaro
13310…Melissa Jess
10004…Melissa Radford
9872…Mercedes Marin
14444…Meredith Rocchi
12658…Merina Shulist
10404…Mia Mackechnie
9408…Mia Meldrum
12883…Michael Bamber
12946…Michael Boutet
8754…Michael Cassie
8284…Michael Chippa
9593…Michael Cuddihy
12375…Michael Davie
14258…Michael Diamond
12188…Michael Faulkner
8904…Michael Greene
7450…Michael Howitt
13351…Michael Krkic
9007…Michael Langlois
11098…Michael Mcginn
7183…Michael Mckiernan
9133…Michael Noynay
13614…Michael Petryk
12354…Michael St. Denis
9863…Michael Sulyha
12816…Michael Thompson
9314…Michael Van Aanhout
8484…Michael W Fawcett
9130…Michaela Norgren
7088…Michel Anglehart
7611…Michel Duhamel
12089…Michele Burkholder
7415…Michele Motiuk
10146…Michelle Blundell
8780…Michelle Conway
12781…Michelle Costello
12667…Michelle Crawley
12129…Michelle Gravelle
7340…Michelle Haines
9506…Michelle Joos
12583…Michelle Lefebvre
8575…Michelle Lindsay
13480…Michelle Mccombs
7808…Michelle Naylor
10926…Michelle Pineo
9210…Michelle Robichaud
12115…Michelle Straver
9912…Michelle Taylor
9983…Michelle Toutant
10443…Michelle Whitty
9711…Michelle Zakrison
7203…Miguel Bussiere
12663…Mikael Tremblay-Martel
11116…Mikaela Nicholson
12622…Mike Bushey
10515…Mike Clark
13207…Mike Giles
13230…Mike Greenly
14510…Mike Holmes
10445…Mike Kosavic
8250…Mike Scott
9893…Mike Seymour
13759…Mike Smith
10077…Mike Ward
13455…Mikel Magnusson
12463…Milan Patel
8298…Miriam Bloom
9923…Mithony Phan
12981…Moe Bsat
8288…Molly Goodman
12082…Monica Waterhouse
9615…Monique Lecompte
7522…Montana Brisbin
7268…Morgan Dickson
10257…Morgan Hladik
10533…Morgan Weeks
9986…Mumtaz Jaffer
10024…Murray Beare
7817…My-Chau Nguyen
13023…Mylene Charron
12179…Mylene Gomez
10242…Myriam Bower
8015…Nadim Missaghian
8398…Nadine Carroll
12278…Nammie Patel
8720…Nancy Boyd
8835…Nancy Dudek
9969…Nancy Dupuis
12487…Nancy Kalil
9309…Nancy Turnbull
8769…Naomi Christensen
12688…Natacha Tremblay
9773…Natalia Ng
7742…Natalie Lemay-Calcutt
13510…Natalie Melanson
13594…Natalie Paquette
9922…Natalie Phan
7166…Natalie Pilon
12222…Natasha Brennan
8462…Natasha Rueter
14257…Natasha Stewart
8796…Nathalie Croteau
13412…Nathalie Levasseur
13842…Navpreet Uppal
9238…Nazish Saleem
13203…Neil George
8009…Neil Irwin
9095…Neil Mispelaar
9280…Nelson Stokes
13213…Ngatho Githii
13962…Nicholas Anderson
12969…Nicholas Brousseau
13214…Nicholas Glennon
7660…Nicholas Handfield-Jones
9515…Nicholas Johnstone
14311…Nicholas Laughton
7352…Nicholas Newell
7073…Nicholas Schroeder
7456…Nicholas Tyler
9738…Nick Brunt
14210…Nick Doucette
13343…Nick Knighton
13429…Nick Luberti
13807…Nick Taylor-Vaisey
12621…Nickola Hockey
12847…Nicola Adams
12945…Nicolas Bourgogne
14040…Nicole Flanagan
10335…Nicole Loreto
8923…Nigel Harrison
13259…Nik Hazledine
7709…Nikolay Khotylev
9472…Nikta Fallahi
14553…Ninar Younes
13266…No Name, See Sportstats
14584…No Name, See Sportstats
9361…Noel Mcginnity
13228…Norma Green
13154…Olakunle Fajimi
14305…Olivia King
14488…Olivier Blue F-Bosh
7270…Olivier Choiniere
12855…Omar Allam
11745…Omar Diaz
9291…Omar Tareen
8300…Orlandd Foster
13260…Oscar Hazledine
7789…Oscar Metcalfe
13095…Oweeny De Silva
12698…Owen Savage
7402…Padme Raina
13254…Pam Hatton
12149…Pamela Bazinet
8304…Pamela Louie
8151…Pamela Vezina
10700…Pamela Wilson
12930…Parker Blois
7493…Pascal Bessette
10581…Pascale Castonguay
12548…Pascale Robillard
7149…Pat Barbeau
12118…Pat Horner
7487…Patricia Begin
12800…Patricia Innes
12417…Patricia Maloney
9112…Patricia Mosher
10437…Patricia Pearson
12098…Patricia Slaunwhite
12364…Patricia Turner
9324…Patricia Voight
12852…Patrick Alden
8057…Patrick Calnan
9540…Patrick Fletcher
8490…Patrick Harris
13268…Patrick Hodges
7010…Patrick Kirkham
7343…Patrick Lennox
7891…Patrick Saumur
13851…Patrick Vienneau
13977…Paul Barnshaw
9610…Paul Bazinet
7050…Paul Desgranges
8827…Paul Dionne
9955…Paul Duff
8862…Paul Finnigan
12551…Paul Gledhill
13229…Paul Greene
10288…Paul Haghighat Talab
8011…Paul Jonah
8646…Paul Karpiak
11943…Paul Krisciunas
9003…Paul Lamarre
7764…Paul Marchand
12124…Paul Racine
13701…Paul Romeo
7942…Paul Thompson
9315…Paul Van Aanhout
8651…Paula Ibbotson
13932…Paull Leamen
9180…Pei Pilgrim
8513…Penny Burton
9123…Penny Napke
14438…Perry Stansel
9565…Peter Bogart
13034…Peter Cianfaglione
14414…Peter Crow
14033…Peter Dudley
8030…Peter Fisher
13243…Peter Halpennny
7113…Peter Johnston
10122…Peter Mackay
13449…Peter Maclean
9378…Peter Orange
9181…Peter Pilgrim
7865…Peter Redekop
13731…Peter Saunders
12211…Peter Williams
9674…Petra Morewood
12770…Phil Jourdeuil
7364…Phil Rogers
9401…Phil Shilling
7250…Philip Corey
9716…Philip Pilon
12732…Philipp Guerin
8722…Philippe Boyer
14204…Philippe-Jacques Zaor
7690…Phillip Hughes-Morash
8655…Pia Newell Santiago
8003…Pierre Elhamoui
9799…Pierre Langevin
12356…Pierre-Pascal Duquette
10903…Pierrette Mccartney
11435…Pippa Leslie
9979…Pippa Sellers
7674…Pj Hewitt
10323…Porter Heffernan
7012…Predrag Bosnjak
10949…Prem Sharma
7497…Prescilla Bisier
9641…Quy Ha
8405…R Harman
8976…Rachael Kennedy
10691…Rachel Archer
7444…Rachel Armstrong
7527…Rachel Burgess
7832…Rachel Oueis
12808…Rachel Sheil
13418…Radek Linhart
9364…Rajiv Bhatla
14253…Raluca Dobre
11575…Randall Gerrior
14315…Randall Wilson
9538…Raquel Vinhais
7894…Rasha Saymeh
9143…Ray O'flaherty
14154…Raymond Prenoveau
13611…Real Perriard
13284…Rebecca Humphries
11939…Rebecca Knowlton
9557…Rebecca Mahler
9699…Rebecca Ross
7391…Rebecca Rousseau
8023…Rebecca Stallwood
9560…Rebecca Trueman
10175…Rebecca Wemyss
8800…Red Curtis
12575…Regan Braund
12853…Reji Alex
11663…Remi Ares
14304…Remy Poulin
9034…Renee Longpre
7787…Renee Mendrisky
8819…Ricardo Dias
12429…Richard Bisier
8721…Richard Boyd
11165…Richard Cotnam
10818…Richard Cronin
7661…Richard Handfield-Jones
13926…Richard Hayes
9599…Richard Lamoureux
10043…Rick Lessard
12751…Rick Mongeon
7836…Rick Palmer
9038…Ricky Ma
13893…Ricky Wong
10210…Rigel Shulist
9717…Riley Finnigan
8689…Ritu Banerjee
12668…Rob Blier
7536…Rob Carrick
12027…Rob Duncan
14134…Rob Muir
14583…Rob Parker
13729…Rob Saric
9568…Robert Bailey
10177…Robert Charrois
14473…Robert Cooper
7079…Robert Graham
7271…Robert Lamothe
10061…Robert Maranger
11962…Robert Mcintyre
13524…Robert Milligan
9107…Robert Morley
12657…Robert Walker
7380…Robert Watt
7632…Roberto Galeano
12973…Robin Browne
7556…Robin Chu
7141…Robyn Spicer
7989…Rod Vanderzalm
13844…Rohit Vaish
14237…Roman Ulyanov
13233…Ron Grossman
14441…Ron Maceachern
13680…Ron Ridley
13407…Ronald Lennox
13837…Ronan Tunney
9827…Rose Ngo
9719…Ross Ermel
12120…Roxanne Temple
7221…Roya Macdonald
10291…Ruben Saikaley
7677…Ruby Ho
10236…Rueban Balasubramaniam
10079…Russ Fitzpatrick
14207…Russell Christie
10233…Russell Francis
14228…Ryan Bush
7628…Ryan Fortner
13924…Ryan Garrett
7673…Ryan Hendy
10372…Ryan Jankovich
9816…Ryan Newton
11227…Ryan Squires
12083…Ryley Mackin
12224…S Slade
10646…Sabina Grossman
8649…Sabrina Dadrian-Kassabian
8880…Sabrina Gagne
8609…Said Hussien
14427…Sam Mackechnie
12317…Sam Paquette
12403…Samantha Burke
8467…Samantha Jerome
10080…Samantha Marcotte
12752…Samantha Mongeon
7404…Samantha Tysick
13146…Sami Elkout
7098…Sammy Diamantstein
14055…Sandra Gruescu
7064…Sandra Lalonde
11818…Sandra Monaghan
8050…Sandra Ryan
14365…Sandy Macleod
10138…Sara Jefferson
10748…Sara Lachance
13886…Sara Wilshaw
7471…Sarah Anderson
14446…Sarah Bennett
12303…Sarah Blackburn
13097…Sarah Degen
13123…Sarah Donahue
12683…Sarah El-Saliby
10118…Sarah Fraser
10780…Sarah Gisele
13242…Sarah Hahn
13288…Sarah Hurley
14083…Sarah Laliberte
12542…Sarah Leighton
7027…Sarah Leverton
13430…Sarah Luberti
8218…Sarah Michelle Pham
13567…Sarah Nesbitt
9230…Sarah Rudolph
12298…Sarah Turcotte
11996…Sarah Vandenhoven
9929…Sarah Verreault
14424…Sarto Leblanc
9583…Sasha Poirier
7758…Scot Maclean
14409…Scott Barry
14287…Scott Dupont
7116…Scott Evans
12022…Scott Gillespie
13280…Scott Howat
7750…Scott Lindsay
13615…Scott Phelan
13806…Scott Taylor
9399…Scott Thompson
7639…Sean Giovannetti
7701…Sean Jorgensen
10377…Sean Murtha
8093…Sean O'reilly
8652…Sebastian Ibbotson
7186…Sebastian Saville
8622…Sebastien Ares
7509…Sebastien Bouchard
9574…Serge Bidnyk
7682…Shana Hopkins
8934…Shane Hennessy
14612…Shannon Kelly
12703…Shannon King
9524…Shannon Ryan
10982…Shannon Youmelle
8937…Sharon Hiebert
10178…Shauna Maclean
7476…Shawn Arcand
9511…Shawn Boeyen
11907…Shawn Goudge
13335…Shawn Kidman
7831…Shawn Osborne
9177…Shawn Pigeon
13697…Shawn Rodgers
8776…Shawna Colbey
12435…Shawna Grosskleg
14621…Sheefra Brisbin
9046…Sheila Macleod
12445…Shelley Fleming
9425…Shelley Hale
12020…Sheri Curkovic
8742…Sherri-Ann Cameron
6508…Shona Mcculloch
7763…Simmi Mangat
10185…Simon Ferrand
9739…Simon Gagne
13929…Simon Jacques
7233…Simon Jones
13375…Simon Laplante
13413…Simon Levasseur
7232…Simon Mcdermott
14463…Simon Mclennan
9220…Simone Rose-Oliver
7794…Sonia Moioli
8106…Sophea Smith
12256…Sophia Molnar
14513…Sophie Goguen
14620…Sophie Hamel
9198…Sophie Reinhard
14328…Speedy Gonzales
10387…Spencer Rolfe
11756…Stacey Fox
10136…Stacey Lacroix
11950…Stacey Luce
14196…Stefan Van Kessel
7659…Steffan Hammonds
7135…Stephane Brunet
7636…Stephane Gauthier
7860…Stephane Quimper
8388…Stephane Thivierge
8668…Stephanie Anderton
9357…Stephanie Brunet
11961…Stephanie Culleton
13096…Stephanie De Silva
8849…Stephanie Etchells
13464…Stephanie Malley
14331…Stephanie Monteith
8455…Stephanie Niles
9149…Stephanie Paolin
10221…Stephanie Parisien
8222…Stephanie Parker
13696…Stephanie Rocque
7925…Stephanie Stewart
7076…Stephen Cutts
7047…Stephen Difruscio
8563…Stephen Donoghue
13132…Stephen Downs
13264…Stephen Hendrie
7731…Stephen Lawson
12691…Stephen Merils
8017…Stephen Morton
10217…Stephen Powell
13685…Stephen Ritchie
7535…Steve Campbell
14059…Steve Heath
8955…Steve Hutchings
13456…Steve Mahood
9086…Steve Meldrum
13648…Steve Power
13942…Steve Shaddoc
12735…Steve Westley
12254…Steven Molnar
14340…Steven Walker
13878…Steven West
10734…Steven Winters
13904…Steven Yankowich
11059…Stuart Campbell
14454…Stuart Macmillan
9068…Stuart Mccarthy
10167…Stuart Mccubbin
7255…Stuart Thomas
10370…Sue Jourdeuil
9032…Sue London
7185…Sullivan Brown
9504…Susan Domina
13269…Susan Hodgson
14538…Susan Mckay
9948…Susan Nevitt-Yelle
9132…Susan North
11895…Susan Oneid
9842…Susan-Belle Ferguson
8680…Susanna Atkinson
7288…Suzanne Hotson
10168…Suzanne Laverty
14550…Suzanne Maclean
8124…Suzi Vivolo
7239…Suzie Abcarius
8997…Suzie Lafreniere
10239…Sydney Shelp
13188…Sylvain Gagne
14310…Sylvain Osborne
12943…Sylvie Bourassa-Muise
9974…Sylvie Chiasson
8456…Sylvie Cote
9409…Sylvie Giroux
9616…Tabitha Legault
7300…Tamara Knighton
13730…Tamara Sarkisian
7613…Tammy Dupuis
11623…Tanja Sredic
12875…Tanya Ashton
12002…Tanya Cullen
11478…Tanya Desjardins
7739…Tanya Leger
7070…Tara Read
13800…Tara Sweeney
8956…Taylor Hutchings
9463…Ted Mackay
8275…Terri Sinclair
7568…Terry Cowan
9968…Terry Warren
13177…Tess Fremont-Cote
13321…Tessa Kampman
12119…Thea Temple
8865…Theresa Flaherty
7691…Theresa Humphrys
7749…Thiago Lima
14314…Thivisha Rajagopal
10290…Thom Haghighat Talab
14273…Thomas Gallagher
10883…Thomas Lamarre
12390…Thomas Pereira
11304…Thomas Saville
13596…Thusyanthan Pathmalingam
7746…Thuy Lieu
7469…Tiago Alves De Jesus
11367…Tiana Burton
12595…Tiffany Patten
7859…Tiffany Pursoo
14557…Tim Gibel
10850…Tim Hanley
9908…Tim Norman
10254…Timothy Hopkins
10586…Tina Meldrum
13326…Tobin Kelly
8977…Tobin Kennedy
13755…Todd Smaridge
12573…Tom Caldwell
14617…Tom Echlin
9422…Tom Fleming
9626…Tom Grace
13337…Tom Kilby
13389…Tom Lawson
8016…Tom Morel
13691…Tom Roberts
7196…Tom Steen
7078…Tomas Graham
13438…Tonda Maccharles
9484…Tony Curkovic
10088…Tony Tran
8806…Tracey Davis
8056…Tracey Mcdonald
9388…Tracey Mcdonald
7948…Tracey Tong
13857…Tracey Wait
12501…Tracy O'connor
14174…Tracy Seymour
8254…Tracy Tabuchi
9654…Tracy Walden
10334…Travis Boisvenue
11890…Travis Martin
9394…Treena Skory
12382…Trevor Berg
9864…Trevor Cavanagh
7547…Trevor Chaisson
13245…Trevor Halpenny
14101…Trevor Luten
8957…Trish Hutchings
14465…Troy Gilbert
12466…Tyler Allan
13031…Tyler Christian
7754…Tyler Longpre
7272…Tyler Mabo
7397…Ursula Melinz
8667…Valerie Anderson
13915…Valerie Delaney
13135…Vallier Dufour
11048…Vanessa Meikle
7935…Vanessa Talbot
8808…Venissa De Castro
10140…Veronica Benoit
9873…Veronique Boudreau
14570…Veronique Morin
1966…Veronqiue St-Denis
8077…Vicky Williams
12244…Victoria Calladine
14015…Victoria Crosbie
7704…Victoria Keaney
9673…Victoria Procunier
9861…Victoria Thomson
14486…Vincent Extreme-Kiwi Turpin
7555…Vinod Choyi
13890…Virginia Wolfe
7324…Vitaly Pecherskiy
12136…Ward Sb Powell
10247…Wendy Alexis
7688…Wendy Hough
12034…Wendy Jermyn
12205…Wendy Mak
7914…Wendy Snyder
7437…Wes Huffman
8282…Will Messervey
9566…William Aikman
7007…William Bain
14255…William Dods
7662…William Handfield-Jones
13275…William Hopkins
8454…William Kuchapski
8366…William Mcgowan
13600…William Paul
7864…William Read
10092…William Yee
9774…Wojciech Kulacz
13754…Xander Sirois
8219…Xuan Huyen Pham
7346…Yannick Brisebois
7807…Yasir Naqvi
13311…Yiuen Jiang
13748…Yves Sikubwabo
14307…Yvonne Burton
7629…Zander Fraser
13833…Zoe Trudel
7396…Zu Vuong
American postcard. Kraus Mfg. Co, New York, 1913. Pilot Players.
Silent-film actress Louise Vale (1881-1918) had a relatively short career - only six years. Born Louise St. George in Missouri, she made her film debut in 1912 at the Rex Film Co. with The Old Organist (1912). This was followed by another handful of more short films at Rex (e.g. The Debt, 1912; Paul and Virginia, 1912), which were distributed by Universal. Her regular film-partner at Rex was Jack Hopkins. All films were made by unknown directors. In 1913 Vale moved to the Pilot Films Corporation, where she acted under direction of Travers Vale (1865-1927), whom she also married. Their first film together at Pilot was The Blacksmith's Story (1913), about a blacksmith (George Morgan) who loses his wife (Vale) and child, when her first husband, presumed death, returns. Pilot was based in Westchester, New York, at the time.
The Vale couple made eight films together at Pilot in 1913, of which one notable title survives at the EYE Filmmuseum: The Streets of New York. In this Dion Boucicault adaptation related to the 1907 bank panic, fraudulent banker Bloodgood (Herbert Barrington) drives old captain Fairweather to death and the captain's wife and child to poverty. Years after, during a blazing fire, the captain's son Paul not only saves his mother and sister, but also the banker's confederate, who confesses the banker's scheme. Vale played the daughter Lucy.
End of 1913 the Vale couple moved to Reliance and early 1914 to Biograph, where George Morgan was Louise Vale's regular film-partner. Sometimes, Morgan directed Vale as well. Other film-partners at Biograph were William Russell and Franklin Ritchie. Films included e.g. the The Iron Master (Travers Vale, 1914) with Louise Vale and George Morgan in the lead, and an adaptation of the often adapted George Ohnet play Le maitre des forges. Ohnet must have been one of Travers Vale's favorites, as he also made the Ohnet adaptations The Soul of Pierre (1915) and The Woman of Mystery (1915) with his wife, as well as adaptations of novels and plays such as The Country Parson (1915), Jane Eyre (1915), East Lynne (1915) and Under Two Flags (1915). After over 50 short films at Biograph, Louise Vale's career slowed down in 1916 and she quit Biograph, but she had now her first roles in features. She had a lead in The Sex Lure (Ivan Abramson, 1916) but in her husband's films Easy Money (1916), The Witch Woman (1917), and Journey's End (1918), the star was Ethel Clayton and Louise became The Other Woman. Louise Vale ended her career with Vengeance (Travers Vale, 1918), with Montague Love and Barbara Castleton. In addition to acting, she was also a screenwriter, and wrote Joan of the Woods (Travers Vale, 1918), in which she didn't act. On October 28th, 1918, during the Spanish Flu pandemic, Vale died from pneumonia after volunteering as a waitress at the YMCA in Madison, Wisconsin, because of a shortage of help.
Travers and Louise Vale had no children, but he had two daughters from an earlier marriage with Leah Flegeltaub.
Source: IMDB, English Wikipedia.
The Streets of New York can be watched at the EYE Filmmuseum playlist on YouTube: www.youtube.com/watch?v=dPGfyDaJizw. It is part of the Desmet Collection. Unfortunately, the last part misses.
Petrus Christus. 1410-1473. Bruges.
Vierge à l'Enfant avec Sainte Barbe et un donateur chartreux.
Virgin and Child with Saint Barbara and a Carthusian donor;
vers 1450.
Berlin Gemäldegalerie.
L'AUGMENTATION DE L'HOMME (Anthropocentrisme et Anthropomorphisme 2)
1) Anthropocentrisme et Anthropomorphisme
2) Dans la peinture catholique et orthodoxe
3) A la Renaissance
3) A la Réforme
4) Dans l'Art Moderne
5) Dans l'Art Contemporain Officiel
La peinture européenne est un témoignage très clair de "l'augmentation" de l'homme au fil de son histoire.
L'augmentation de l'homme ? C'est un constat : Plus l'humanité vieillit plus elle se prend au sérieux, plus son importance augmente, en tout cas à ses propres yeux, plus son regard sur le monde se fait anthropocentrique et plus son existence impacte les autres êtres et la terre toute entière. Mais peut être l'humanité est elle arrivée à un tournant de son histoire qui pourrait inverser la tendance ? Ou la précipiter vers sa fin?
Quand débute en Europe la peinture sur fresques au 11è siècle, puis sur bois au début du 14è siècle, l'anthropomorphisme de la pensée européenne, au travers de l'art catholique et orthodoxe est très clair. Mais l'anthropocentrisme est encore discret.
Anthropocentrisme ? Anthropomorphisme ?
La pensée anthropocentrique fait de l'homme le Centre de tout l'Univers. Il fait surtout de l'homme le centre de la pensée de l'homme. L'Humanité s'enfle et pas seulement démographiquement,surtout psychologiquement et idéologiquement.
L'anthropomorphisme a une portée beaucoup plus limitée : Il consiste à donner des Dieux, ou de Dieu, une représentation sous forme humaine. Dieux ou Déesses bien sûr. Car il semble bien qu'une des premières formes de la divinité ait été la Déesse Mère, sous forme humaine. Alors que le principe mâle aurait été souvent symbolisé par un animal : le Taureau par exemple.
L'anthropocentrisme est croissant tout au long de la période médiévale, il s'épanouit à la Renaissance, progresse encore à la Réforme, et devient omniprésent au fur et à mesure que l'idéologie des "Lumières" triomphe. Et à la fin de cette montée en puissance des "Lumières", quand Dieu disparait de l'art pictural européen, l'anthropomorphisme évidemment disparaît aussi. L'anthropocentrisme a éliminé l'anthropomorphisme. Seul l'Homme est au premier plan. C'est l'Enflure totale de l'Homme. C'est ce que l'histoire de la peinture européenne nous montre.
1) Anthropocentrisme et Anthropomorphisme ne sont pas indissolublement liés. Les cultures ou les civilisations qui donnent aux dieux des formes humaines peuvent ne pas être anthropocentriques. Dans ces sociétés les Dieux ou Dieu ont une forme humaine, mais l'homme ne se pense aucunement comme le centre du monde, ni comme une créature privilégiée. C'est la situation, dans les civilisations Sumériennes et dans l'Antiquité grecque et romaine. Dans ces cultures, ces religions ou représentations du monde, le centre du monde ce sont les Dieux.
L'homme Grec ou Romain a conscience de son importance, il n'est pas un animal et il n'est pas un barbare, il peut même être un philosophe rationaliste. Mais il a une grande conscience de son insignifiance dans l'Univers, notamment par rapports aux Dieux. Il est un être qui passe, et qui doit se contenter de ce passage en honorant les Dieux et ses ancêtres. Pour les Grecs et les Romains l'Ubris, la démesure, l'anthropocentrisme orgueilleux sont des perversions gravement dommageables à l'harmonie du monde. C'est une constante de toute la pensée grecque aussi bien mythologique que philosophique, en partant des pré-socratiques jusqu'aux hellénistiques, en passant par les post-socratiques. Certes un changement de vision du monde et de l'homme se profile avec Platon, et sans doute avec certains cultes à mystères très mal connus, mais ce n'est encore qu'une ébauche. Certes Prométhée promet beaucoup....mais il se fait manger le foie en punition de sa mégalomanie et de sa démesure (ubris) en faveur des humains. Zeus veille à ce que l'homme ne se prenne pas pour le centre du monde, afin d'en préserver l'ordre harmonieux. Et Apollon écorche Marsyas vivant pour les mêmes motifs.
Alexandre le Grand est une véritable incarnation de l'Ubris, sa mégalomanie démesurée a été très critiquée de son temps. Son premier censeur a été son maître, Aristote. Evidemment dès la Renaissance, les humains ont encensé Prométhée et Alexandre et ont continué pendant des siècles, jusqu'à nos jours. C'est une grande tentation de se croire élu, pas la plus précoce chez l'homme, seconde dans son histoire, mais tenace.
2) La peinture catholique et orthodoxe, une fois passée la crise iconoclaste byzantine, est anthropomorphique : elle peint Dieu à l'image de l'homme. Un anthropomorphisme qui est un héritage de la civilisation grecque dont les divinités étaient, pour la plupart, de formes humaines. L'anthropomorphisme du christianisme catholique et orthodoxe, n'est pas encore absolument anthropocentriste, mais il tend vers une valorisation de l'homme par rapport à la vision antique. Plusieurs regards sont possibles certes, mais d'une certaine manière, avec le christianisme catholique et orthodoxe l'homme prend plus d'importance que dans la pensée antique. Avec le Monothéisme l'humanité se considère en effet comme une création privilégiée de Dieu. Ce qu'elle n'était aucunement dans l'Antiquité grecque et romaine polythéiste. L'être humain catholique et orthodoxe est une créature unique au monde dans sa perfection, image de Dieu, élue de Dieu, alliée de Dieu, assurée d'une survie personnelle qui lui est réservée, s'il remplit certains devoirs.
C'est une vision du monde et de l'humanité héritée des cultures sémitiques et très précisément de celle hébraïque. Le chrétien élu de Dieu, quelque soit sa nation, est seulement une idéologie un peu moins ségrégationniste que l'hébreu élu ou allié privilégié de Dieu au dessus de toutes les autres nations.
Mais le chrétien (catholique ou orthodoxe, le protestantisme n'existe pas à cette époque) est une névrose de l'élection tout à fait identique à celle qu'exprime l'Ancien Testament. Cette névrose, sort du contexte tribal, qui est celui du judaïsme, et s'étend à l'échelle de l'humanité entière. Une idée que l'Islam reprendra plus de six siècles après.
Être chrétien sauve de la damnation éternelle. De même être musulman. Alain de Benoist a écrit "avec le christianisme il n'y a plus de peuple élu". Il aurait pu en dire autant de l'islam. C'est à la fois vrai et faux. Ces visions du monde chrétiennes et islamiques restent des sectarismes. Le Christianisme ou l'Islam ne sont pas racistes en effet, car le critère de l'élection n'est plus ethnique. "Le peuple élu" chez les chrétiens et les musulmans n'appartient pas à une race ou à des descendants par la mère de tribus privilégiées. Le peuple élu est celui d'une foi qu'il suffit de partager. Peu importent les origines ethniques pour en être membre. L'élection est plus large, elle se fait par adoption. La Grace de Dieu s'étend à tous ceux qui croient en lui. "L'élection divine" a franchi les barrières ethniques elle est devenue exclusivement idéologique. Le catholicisme et l'orthodoxie sont en quelque sorte un premier mondialisme. L'islam puis les protestantismes adopteront ces mêmes conceptions. Ces idéologies continuent cependant de conditionner la grâce de Dieu à la stricte conformité avec leurs doctrines particulières, elles sont donc bien une forme perpétuée de pathologie de l'élection. Toutes ces idéologies ont constamment affirmé qu'en dehors d'elles il n'y a pas de salut et certainement pas chez leurs voisines.
Avec la mondialisation (qui n'est pas le mondialisme) ces sectarismes deviennent de moins en moins crédibles expérimentalement. L'élargissement contemporain du champ de l'expérience humaine ne remet pas en question les croyances religieuses fondamentales dans leurs particularismes, mais très radicalement leur exclusivisme. Les chemins vers la Vérité apparaissent légitimement plus multiples à la fin du 20è siècle qu'au cours des siècles précédents. Du moins en Occident, car au niveau des élites de la pensée la conception de la nécessaire multiplicité des chemins vers la Vérité Unique est très ancienne en Extrême Orient. La dialectique de l'Un et du multiple y est depuis bien des siècles infiniment plus subtile.
En Europe, sur les fresques du 12è siècle et du 13è siècle, comme dans la peinture sur bois du début du 14è, les personnages représentés sont exclusivement des personnages divins ou des anges, qui prennent des formes humaines. Ou des saints qui sont des personnes hors du commun, presque divines, l'équivalent des héros grecs. Mais il n'existe aucun portrait d'un individu quelconque, pas de donateurs, laïcs ou religieux, pas de personnages politiques importants, pas de financiers d'envergure. L'homme et la femme laïque, les donateurs même religieux, sont très généralement absents de la peinture romane et de celle du début du gothique. Ensuite, quand ils apparaissent, ils sont minuscules, figurés à une échelle réduite, tout en bas de l'oeuvre d'art.
L'anthropomorphisme est donc évident, mais l'anthropocentrisme reste relativement modeste dans cette peinture des débuts de l'époque médiévale. En Europe de l'Ouest la peinture gothique est le témoignage de l'importance croissante de l'homme, de sa valorisation constante par rapport à Dieu. Vers la fin de la période gothique (1300s) apparaissent les donateurs et leurs familles : de minuscules figures au bas des tableaux, qui restent cependant essentiellement occupés par une représentation de personnages sacrés. Peu à peu, au cours du 14 è siècle et au 15 è siècle les donateurs et leurs familles grandissent. Ils occupent toutes les volets latéraux et/ou une bonne partie du panneau central. Progressivement Dieu se réfugie au Ciel : tout en haut du tableau. Mais l'homme occupe tout le bas, avec sa femme, ses enfants, ses petits enfants, ses cousins....ou il se glisse tout près du trône de la Vierge et de l'Enfant, l'encadre à la même hauteur. Le Dyptique de Melun de Jean Fouquet est en deux parties : un volet est consacré au portrait du mécène, avec il est vrai son Saint protecteur, l'autre à la Vierge. Une Vierge qui n'a d'ailleurs plus rien à voir avec la virginité puisqu'elle est le portrait d'Agnès Sorel, maîtresse du Roi de France. Avec le temps qui passe le donateur n'est plus à genoux, son saint protecteur disparaît pour lui laisser toute la place. Le ou les donateurs ne sont plus tournés vers la divinité dans une attitude de vénération, ils regardent droit dans les yeux du spectateur. "C'est Moi" dit clairement le tableau. Effectivement c'est ce Moi là qui l'a payé!
3) A "la Renaissance", au 16 è siècle, l'homme s'accroît encore considérablement par rapport à Dieu. Ce phénomène apparaît très clairement en comparant les peintures de la "Renaissance" avec les peintures de l'époque gothique primitive et même du gothique tardif. Au 16è siècle les personnages sacrés ne disparaissent pas, car la Renaissance n'est pas anticatholique. Contrairement à la Réforme. Mais le portrait des hommes et des femmes, de l'élite bien sûr, se séparent de plus en plus et même totalement des représentations de Dieu et des personnages sacrés. Le portrait de l'homme se laïcise, il devient un thème en soi, sans aucune référence religieuse. L'humain fait abondamment son auto-portrait. Désormais il peut s'admirer seul. Dieu et tous ses saints peuvent disparaître du tableau. Ah ! l'Homme enfin !!
La Joconde de Léonard de Vinci est certainement le tableau emblématique de cette période. Car la Joconde n'est aucunement le portrait d'une personne déterminée, son message essentiel c'est la célébration du genre humain. Mais la Renaissance ce n'est pas encore adieu à Dieu. Les thèmes religieux demeurent encore très présents dans l'art européen, comme le démontre aussi l'art de Léonard de Vinci.
Il faudra attendre la seconde moitié du 20è siècle pour dire adieu à Dieu, dans l'art. La Renaissance se résume en cette proposition simple : La croissance de l'importance de l'homme et la diminution de l'importance de Dieu dans les conceptions que l'humanité européenne se fait du monde et d'elle même.
Le regard de l'homme se centre sur lui-même. Renaissance certainement pas, mais évolution idéologique importante, significative, certainement.
4) La Réforme ? Il vaudrait mieux parler des Réformes, car les réformes sont multiples. L'anglicanisme n'est pas le calvinisme et le luthéranisme non plus. Et à la suite de ces trois principaux courants d'origine les églises protestantes ne vont pas cesser de se diviser et de se multiplier, notamment aux Etats Unis.
Les tendances aniconiques très fortes chez les protestantismes, tendances héritées du judaïsme et voisines de celles de l'islam, limitent l'anthropomorphisme dans ces religions, mais elles ne font pas du tout obstacle à l'anthropocentrisme. Une fois de plus il se vérifie qu'anthropocentrisme et anthropomorphisme ne marchent pas nécessairement de concert. L'anthropocentrisme augmente dans la peinture européenne avec les Réformes Le matérialisme très puissant qui caractérise les protestantismes, leur considération pour les richesses matérielles s'aperçoit très bien dans la peinture des Pays Bas du Nord, chez les Néerlandais, dès le 17è siècle. Dieu n'est presque plus un thème de la peinture protestante, sauf le Christ en croix. L'homme de tous les jours, de tous les niveaux sociaux, du grand commerçant au paysan, occupe tout l'espace pictural néerlandais. Le ploutocrate a remplacé l'aristocrate, mais il occupe tout le premier plan de l'art et même tout l'art. La description des moeurs quotidiennes, de la vie banale en société, est une création des Pays Bas protestants calvinistes.
Les banquets ne sont plus les festins des Dieux, mais les gueuletons des compagnies de miliciens.
La Charité et l'Espérance ne veillent plus sur les hôpitaux et les hospices, mais les Régents et les Régentes au premier plan, avec en fond de tableau, parfois, la croix du Christ.
La Cène (le pain, le sel et le vin) devient une scène de déjeuner profane abondamment pourvu en nourritures terrestres : viandes, poissons, légumes, fromages, gâteaux, fruits et vins, tout à profusion.
Les scènes de marchés et de cuisines ( surabondant étalage de viandes, poissons, légumes...) remplacent les scènes de la passion du Christ. Quand les scènes religieuses demeurent présentes, elles se réfugient dans un tout petit coin du tableau (Aertsen, Beuckelaer...).
Le paysage européen n'est plus habité par des Dieux, des Déesses, des Nymphes, des Faunes. La Vierge voyageant en Égypte disparaît. Saint Jérôme ne médite plus dans le désert. Le paysage est devenu le lieu où vivent les hommes ordinaires : paysans travaillant aux champs, bergers gardant leurs troupeaux de bêtes domestiques. "Le passage du gué" a remplacé "le Baptême du Christ". Le boeuf n'est plus celui de la crèche, il rumine en regardant couler un canal, ou se découpe en quartiers appétissants sur la table de la cuisine
"L'augmentation" de l'homme est donc une évidence à la lecture attentive du message que délivre l'art néerlandais du 17è siècle. L'art est à toutes les époques un miroir des valeurs d'une société. Et sur ce point l'art du siècle d'or des Pays Bas est absolument exemplaire d'un changement de valeurs en Europe: Du spiritualisme vers le matérialisme, de Dieu vers l'Homme. Oui, l'homme s'enfle.
Une période de transition existe dans le reste de l' Europe demeurée catholique pendant les 18è et 19è siècles où l'aristocratie et l'église catholique dominent encore. Pendant cette période cependant, dès le 18è siècle, l'anthropomorphisme se réduit. Car Dieu devient de moins en moins un sujet de tableau. Mais l'anthropocentrisme augmente, l'homme se peint de plus en plus, en portrait et dans ses activités quotidiennes. Et quand l'homme peint des paysages, c'est son regard sur le monde que l'art illustre toujours plus exclusivement.
5) Dans cette petite histoire de l'enflure de l'homme, considérée du point de vue de la peinture, il est possible de sauter une étape pourtant esthétiquement très importante : celle de l'Art Moderne (1850-1950).
Pourquoi ? Parce que la diversité idéologique qui caractérise cette période de l'histoire européenne ne permet pas de dégager des constantes remarquables du point de vue ici esquissé de l'anthropomorphisme et de l'anthropocentrisme. L'art moderne retrouve ou renouvelle des techniques anciennes de l'esthétique, il en invente de nouvelles comme l'art abstrait. Il est donc générateur de ruptures de style très importantes certes, mais il demeure globalement un art qui se veut beau, significatif et partagé avec le plus grand nombre. Du point de vue idéologique et de celui de l'anthropocentrisme et de l'anthropomorphisme l'Art Moderne est seulement la continuation de la période de transition précédente dans l'Europe du sud. Il est aussi la généralisation des tendances de fond apparues au 17è siècle dans les Pays Bas réformés. La Rupture totale entre l'art et l'esthétique n'est pas envisagée à cette époque. Le "massacre de la peinture" ne devient un fait d'évidence et une constante qu'avec l'Art Contemporain Officiel, après la seconde guerre mondiale.
6) A partir de la seconde moitié du 20è siècle, Dieu et les personnages sacrés disparaissent totalement de l'Art Contemporain Officiel. Même aux États Unis, pays où la religion chrétienne a semble-t-il conservé plus d'importance sociale. Mais quelle importance politique ? La question se pose sérieusement alors que dans l'Art Contemporain Officiel de tout l'Occident seul demeure l'homme et ses œuvres.
Avec une nouveauté absolument remarquable : le laid et l'absurde.
Contrairement à l'Art Moderne, l'art Contemporain Officiel constitue une rupture totale avec le passé artistique humain : l'anti-esthétique est née et rendue totalement obligatoire dans les milieux officiels. Laideur et absurdité sont une caractéristique de l'art contemporain officiel, mais pas seulement. Malgré des résistances notables, la contagion du laid et de l'absurde gagne aussi l'art des rues et l'art commercial privé. Ces portraits de l'humain qui s'exposent dans nos musées d'art contemporain, si on les compare à ceux réalisés par les artistes des temps passés ont une signification. La mort de Dieu chez les "élites éclairées", le culte de la Raison, de l'Homme, de l'Avenir, du Progrès, de la Modernité, du Matérialisme et de l'Argent se traduit dans l'Art Contemporain Officiel par une vision de l'homme d'une laideur repoussante et d'une absurdité totale, toutes deux systématiques. Il est intéressant aussi de constater que cet Anti-Art est toujours exposé dans des musées d'une architecture admirable, qui constituent son exact contraire. Le contraste entre la magnificence de l'enveloppe et la hideur du message qu'elle contient est aussi un enseignement. Est-ce un signal d'alarme de l' inconscient collectif humain ?
Le gros défaut de l'animal humain est incontestablement l'anthropocentrisme pathologique. Si l'homme descend du singe, selon certaines théories évolutionnistes qu'il est inconvenant de critiquer, il est évident que c'est d'un singe qui se prend de plus en plus pour un dieu, et même pour Dieu.
Cet anthropocentrisme s'exprime de différentes manières. Il inspire directement la névrose du "peuple élu"depuis plus de deux millénaires, une névrose, très répandue, légère ou sévère, mais qui peut avoisiner la psychose grave et qui est très prononcée dans les cultures sémitiques et les religions monothéistes. Même quand l'anthropomorphisme est absent du fait du refus de la représentation de Dieu et de toute iconographie religieuse, comme dans le judaïsme et l'islam. Dans l'Occident très influencé par les mythes sémites, par l'intermédiaire du judaïsme et du christianisme, la mégalomanie anthropocentrée n'a pas cessé de croitre au fil de l'histoire. "La mort de Dieu" est à l'évidence comprise et célébrée par toute une idéologie "éclairée" comme étant nécessairement la promotion de l'Homme. La preuve: avant les "Lumières" l'homme n'avait que des Devoirs, et après les "Lumières" il a enfin des Droits. C'est la vision de l'histoire de l'humanité qu'impose la religion contemporaine officielle en Occident. L'Occident a inventé la religion contre Dieu, la religion de l'Homme, même et surtout quand il consent encore à se référer à un "Architecte de l'Univers".
Mais il faut peut être regarder ailleurs qu'en Europe et qu'aux Amériques :
Ce complexe de "l'animal élu" est bien moins présent dans la civilisation indienne-hindouiste, où l'homme, sans être une quantité négligeable, il est le seul être à pouvoir se libérer de la roue des renaissances, est beaucoup plus un être parmi une infinité d'autres. Cette conception du monde a influencé le bouddhisme et toutes les sociétés que cette philosophie-religion a imprégné de ses valeurs.
La civilisation chinoise est plus ambivalente, mais la peinture des lettrés chinois peint l'homme comme "une petite chose" dans la Nature. Cet art des lettrés chinois, ni anthropocentriste ni anthropomorphique, est très éloigné de la peinture occidentale.
Il est urgent que l'Europe et l'Occident acceptent d'entendre quelques concepts civilisateurs en provenance non pas d'un certain Moyen Orient, auquel ils ont à l'évidence beaucoup trop emprunté, mais entre autres régions du globe, de l'Extrême Orient. Sans renier leurs particularités, notamment leur attachement à l'individualisme et à un personnalisme source de libertés et d'autonomies précieuses. Il est urgent que l'Occident cesse de se penser comme le nombril du monde, se méfie de l'utilisation qu'il fait de sa science et de ses techniques, renonce à prendre ses croyances actuelles pour la seule vérité vraie et universelle, et de s'imaginer être destiné à dominer le monde dans une République Mondialiste dont il tirerait les ficelles idéologiques, politiques et économiques.
Les élites politiques et idéologiques d'Occident, se prétendent éclairées, s'affirment anti-racistes, mais elles en sont toujours restées à la pensée élémentaire du franc maçon Jules Ferry (1832-1893) quand il affirmait : "C’est un devoir supérieur de la civilisation qui légitime le droit d’aller chez les barbares.". Ou encore, autre propos"d'éclairé". " La race supérieure ne conquiert pas pour le plaisir, dans le dessein d’exploiter le faible, mais bien de le civiliser et de l’élever jusqu’à elle."
Ou Léon Blum cette fois, le 3 juillet 1925 devant les députés français : "Nous admettons le droit et même le devoir des races supérieures d’attirer à elles celles qui ne sont pas parvenues au même degré de culture et de les appeler au progrès réalisés grâce aux efforts de la science et de l’industrie".
L'Occident "éclairé" ne prend pas ce chemin de l'intelligence réellement informée alors que Colin Powel (1937) affirme encore en 1992 " Nous représentons le dernier et le meilleur espoir sur cette planète."
Jean de La Fontaine (1621-1692) a bien décrit ce phénomène : C'est un propos de grenouille qui, voulant se faire aussi grosse qu'un boeuf, s'enfle jusqu'à éclater.
La science et la technique dont l'Occident a été l'incontestable et le plus efficace inventeur ont été malheureusement, du 17è siècle où elles s'annoncent, jusqu'à nos jours, des facteurs d'aggravation de la mégalomanie humaine, particulièrement européenne et occidentale, mais pas seulement. Alors qu'une science bien comprise, non pervertie par les idéologies et le politique, aurait dû avoir des effets inverses. Il est absolument évident pour les hommes de science et de sagesse que plus l'homme découvre, moins il sait. Et plus il doit demeurer modeste, même et surtout quand ses moyens techniques augmentent. Plus l'homme développe une puissance technique, souvent fallacieuse, trompeuse, limitée, pleine de dangers, moins il devrait se comporter en anthropocentriste, plus il devrait se méfier de ses pouvoirs et se resituer dans un Univers qui le dépasse totalement, dont il n'est pas le centre, et où il est devenu absolument évident qu'il n'est pas seul. Bref l'homme n'est pas La Créature de Dieu, Unique, Élue, Alliée, Privilégiée qu'il a cru être pendant des siècles dans le cadre des religions monothéistes.
Peu importe finalement que l'homme anthropomorphise. L'anthropomorphisme est seulement une commodité empathique et pédagogique à destination des peuples au cœur simple, ce qui ne veut pas dire d'esprit simpliste. C'est un fait aussi que l'anthropomorphisme a inspiré plus de 3000 ans d'art beau, significatif et partagé non seulement en Europe mais aussi dans le Monde.
Par contre l'anthropocentrisme, l'enflure de l'homme, est une perversion très grave. Se prendre pour "le peuple élu" est simiesque comme l'a poétiquement et analogiquement démontré Rudyard Kipling dans le "Livre de la Jungle". Depuis le milieu du 20è siècle l'Art Contemporain Officiel, l'Art Conceptuel a aussi mis en évidence que l'anthropocentrisme élitiste des Éclairés a généré pour la première fois dans l'histoire des civilisations un anti-art de la laideur et de l'absurdité.
Ce n'est pas demain que l'humain corrigera sa tendance à la survalorisation de son moi. "Les Éclairés" du Mondialisme, l'idéologie qui gouverne l'Occident actuel, continuent obstinément dans la même direction d'une enflure de l'homme et de ses capacités toujours prétendument en progrès.
Jusqu'à sa disparition ? Cela n'a rien d'impossible, c'est même très possible. C'est ce dont certains "Elohim" nous ont avertis.
THE INCREASE OF HUMAN (Anthropocentrism and Anthropomorphism 2)
1) Anthropocentrism and Anthropomorphism
2) In Catholic and Orthodox painting
3) At the Renaissance
3) At the Reformation
4) In Modern Art
5) In Official Contemporary Art
European painting is a very clear testimony to the "increase" of mankind over the course of his history.
The increase of the man ? This is a fact: The older humanity gets, the more seriously it takes itself, the more its importance increases, at least in its own eyes, the more anthropocentric its view of the world becomes and the more its existence impacts other beings and the whole earth. But perhaps humanity has reached a turning point in its history that could reverse the trend? Or rush it at the end of its life
When fresco painting began in Europe in the 11th century, then the painting on wood at the beginning of the 14th century, the anthropomorphism of European thought, through Catholic and Orthodox art, was very clear. But anthropocentrism was still discreet.
Anthropocentrism? Anthropomorphism?
Anthropocentric thinking makes man the Centre of the whole Universe. It also makes man the centre of man's thought. Humanity is swelling and not only demographically, but above all psychologically and ideologically.
Anthropomorphism has a much more limited scope: It consists in giving Gods, or God, a representation in human form. Gods or goddesses of course. For it seems that one of the first forms of divinity was the Mother Goddess, in human form. While the male principle would have been often symbolized by an animal: Taurus for example.
Anthropocentrism is growing throughout the medieval period, flourishes in the Renaissance, progressed further during the Reformation, and became omnipresent as the ideology of the "Enlightenment" triumphs. And at the end of this rise of the "Enlightenment", when God disappears from European pictorial art, anthropomorphism obviously disappears too. Anthropocentrism has eliminated anthropomorphism. Only human is in the foreground. It is the total Swelling of Man.
This is what the history of European painting shows us.
1) Anthropocentrism and Anthropomorphism are not indissolubly linked.
Cultures or civilizations that give the gods human forms can be non anthropocentric. . In these societies the Gods or God have a human form, but man does not think of himself as the center of the world, nor even as a privileged creature. This is the situation in Sumerian civilizations and in Greek and Roman antiquity. In these cultures, these religions or representations of the world, the center of the world are the Gods.
The Greek or Roman man is aware of his importance, he is not an animal and he is not a barbarian, he can even be a rationalist philosopher. But he has a great awareness of his insignificance in the Universe, especially in relation to the Gods. He is a passing being, and must be content with this passage by honoring the Gods and his ancestors. For the Greeks and Romans, the "Ubris", excessiveness, prideful anthropocentrism are perversions seriously damaging to the harmony of the world. It is a constant of all Greek thought both mythological and philosophical, starting from the pre-Socratics to the Hellenistics, through the post-Socratics. Certainly a change of vision of the world and man is looming with Plato, and probably with some mystery cults very poorly known, but it is still a sketch. Certainly Prometheus promises a lot... but he gets his liver eaten by an eagle as a punishment for his megalomania and his oversize (ubris) in favor of humans. Zeus makes sure that man does not take himself for the center of the world, in order to preserve the harmonious order. And Apollo skinned Marsyas alive for the same reasons. Alexander the Great, true incarnation of Ubris, his oversized megalomania was much criticized of his time. His first censor was his master, Aristotle. Evidently in the Renaissance, humans praised Prometheus and Alexander and continued for centuries until today. It is a great temptation to believe oneself elected, that one is chosen, not the earliest in the man history, second only, but tenacious.
2) Catholic and Orthodox painting, once the Byzantine iconoclastic crisis has passed, is anthropomorphic: it paints God in the image of man. An anthropomorphism that is a heritage of the Greek civilization whose deities were, for the most part, of human forms. The anthropomorphism of Catholic and Orthodox Christianity is not yet absolutely anthropocentric, but it tends towards a valorization of man in relation to the ancient vision. Several views are certainly possible, but in a way, with Catholic and Orthodox Christianity, man takes on more importance than in ancient thought. With Monotheism, humanity considers itself as a privileged creation of God. This was not the case in Greek and Roman polytheistic antiquity. The Catholic and Orthodox human being is a creature unique in the world in its perfection, image of God, elected by God, allied with God, assured of a personal survival that is reserved for him, if he fulfils certain obligations.
It is a vision of the world and humanity inherited from Semitic cultures and very precisely from the Hebrew one. God's chosen Christian, whatever his nation, is only a slightly less segregationist ideology than God's chosen Hebrew or privileged ally above all other nations.
But the Christian (Catholic or Orthodox, Protestantism does not exist at that time) is a neurosis of election that is quite identical to that expressed in the Old Testament. This neurosis is outside the tribal context, which is that of Judaism, and extends to the scale of all humanity. An idea that Islam will take up again more than six centuries later.
To be a Christian saves from eternal damnation. So is being a Muslim. Alain de Benoist wrote "with Christianity there is no longer an elected people". He could have said as much about Islam. This is both true and false. These visions of the Christian and Islamic world remain sectarianism. Christianity or Islam are not racist indeed, because the criterion of election is no longer ethnic. "The chosen people" for Christians and Muslims do not belong to a race or descendants by the mother of privileged tribes. The chosen people are those of a faith that only needs to be shared. No matter the ethnic background to be a member. The election is broader, it is by adoption. The Grace of God extends to all those who believe in Him. "The divine election" crossed ethnic barriers and became exclusively ideological. Catholicism and orthodoxy are in a way a first globalism. Islam and then Protestantism adopted these same conceptions. These ideologies, however, continue to condition God's grace on strict conformity with their particular doctrines, and are therefore a perpetuated form of the pathology of election. All these ideologies have constantly affirmed that apart from them there is no salvation and certainly not among their neighbours.
With globalization (which is not globalism) these sects are becoming less and less credible experimentally. The contemporary expansion of the field of human experience does not call into question the fundamental religious beliefs in their particularities, but very radically their exclusiveness. The paths to the Truth appear legitimately more numerous at the end of the 20th century than in previous centuries. At least in the West, because at the level of the elites of thought the conception of the necessary multiplicity of paths to the One Truth is very old in the Far East. The dialectic of the One and the multiple has been infinitely more subtle in the Far East for many centuries.
In Europe, on 12th and 13th century frescoes, as in early 14th century wood painting, the characters depicted are exclusively divine characters or angels, who take on human forms. Or saints who are extraordinary people, almost divine, the equivalent of Greek heroes. But there is no portrait of any individual, no donors, lay or religious, no important political figures, no major financiers. Secular men and women, donors, even religious donors, are very generally absent from Romanesque and early Gothic painting. Then, when human figures appear, they are tiny, shown on a reduced scale, at the very bottom of the work of art.
Anthropomorphism is therefore obvious, but anthropocentrism remains relatively modest in this early medieval painting. In Western Europe, Gothic painting is the testimony of the growing importance of man, of his constant valorization in relation to God. Towards the end of the Gothic period (1300s), donors and their families appeared: tiny figures at the bottom of the paintings, which nevertheless remained essentially occupied by a representation of sacred characters. Gradually, during the 14th and 15th centuries, donors and their families grew. They occupy all the side flaps and/or a large part of the central panel. Gradually God takes refuge in Heaven: at the very top of the picture. But the man occupies all the entire lower part, with his wife, his children, his grandchildren, his cousins..... where he slips very close to the throne of the Virgin and the Child, frames it at the same height. Jean Fouquet's Dyptique de Melun is in two parts: one part is dedicated to the portrait of the patron, with its protector Saint, the other to the Virgin. A Virgin who no longer has anything to do with virginity since she is the portrait of Agnes Sorel, mistress of the King of France. With the passing of time, the donor is no longer on his knees, his patron saint disappears to leave him all the space. The donor or donors are no longer turned towards the divinity in an attitude of veneration, they look straight into the eyes of the spectator. "It's Me" says the painting clearly. Indeed it is, this me, who paid for it!
3) At the "Renaissance", in the 16th century, man still increases considerably in relation to God. This phenomenon appears very clearly when comparing "Renaissance" paintings with paintings from the early Gothic and even late Gothic periods. In the 16th century, sacred characters did not disappear, because the Renaissance was not anti-Catholic. Unlike the Reformation. But the portrait of men and women, of the elite of course, is increasingly and even totally separated from representations of God and sacred characters. The portrait of man is secularized, it becomes a theme in itself, without any religious reference. Humans paint their own self abundantly. Now the human can admire himself alone. God and all his saints can disappear from the picture. Ah! The Man at last!
Leonardo da Vinci's Mona Lisa is certainly the most emblematic painting of this period. The Mona Lisa is in no way a portrait of a determined person, its essential message is the celebration of the human race. But the Renaissance is not yet farewell to God. Religious themes still remain very present in European art, as Leonardo da Vinci's art also demonstrates.
It will be necessary to wait until the second half of the 20th century to bid farewell to God, in art. The Renaissance can be summed up in this simple proposition: The growth of the importance of man and the decrease of the importance of God in the conceptions that European humanity has of the world and of itself. Man's gaze focuses on himself. Renaissance certainly not, but an important ideological evolution, significant, certainly.
4) The Reformation ? It would be better to talk about Reforms, because there are many reforms. Anglicanism is not Calvinism and neither is Lutheranism. And as a result of these three main currents of origin, Protestant churches will continue to divide and multiply, especially in the United States.
The very strong aniconic tendencies among Protestants, tendencies inherited from Judaism and similar to those of Islam, limit anthropomorphism in these religions, but they do not at all hinder anthropocentrism. Once again, it is clear that anthropocentrism and anthropomorphism do not necessarily work together. Anthropocentrism increases in European painting with the Reforms The very powerful materialism that characterizes Protestantism, their consideration for material wealth can be seen very well in painting in the Northern Netherlands, among the Dutch, from the 17th century. God is almost no longer a theme of Protestant painting, except Christ on the Cross. The everyday man, from all social levels, from the great merchant to the peasant, occupies the entire Dutch pictorial space. The plutocrat has replaced the aristocrat, but he occupies the whole foreground of art and even all art. The description of daily mores, of everyday life in society, is a creation of the Protestant Calvinist Netherlands.
The banquets are no longer the feast of the Gods, but the gueuletons of militia companies.
Charity and Hope no longer watch over hospitals and hospices, but only in ther place, the Regents and Regents, in the foreground, with the cross of Christ sometimes in the background.
The Last Supper (bread, salt and wine) becomes a profane lunch scene abundantly provided with terrestrial foods: meat, fish, vegetables, cheese, cakes, fruits and wines, all in abundance.
The scenes of markets and kitchens (overabundant display of meat, fish, vegetables...) replace the scenes of Christ's passion. When the religious scenes remain present, they take refuge in a very small corner of the painting (Aertsen, Beuckelaer...).
The European landscape is no longer inhabited by Gods, Goddesses, Nymphs, Fauns. The Virgin travelling in Egypt disappears. Saint Jerome no longer meditates in the desert. The landscape has become the place where ordinary people live: peasants working in the fields, shepherds guarding their herds of domestic animals. "The crossing of the ford" has replaced "the Baptism of Christ". The beef is no longer that of the Nativity, it ruminates while watching a canal flow, or is cut into appetizing quarters on the kitchen table
The "increase" of man is therefore obvious from a careful reading of the message delivered by 17th century Dutch art. Art is at all times a mirror of the values of a society. And on this point the art of the golden age of the Netherlands is absolutely exemplary of a change of values in Europe: from spiritualism to materialism, from God to Man... Yes, the man swells.
A period of transition have existed in the rest of Europe, which remained Catholic during the 18th and 19th centuries, when the aristocracy and the Catholic Church still dominated. During this period, however, from the 18th century onwards, anthropomorphism was reduced. Because God is becoming less and less of a subject on the board. But anthropocentrism is increasing, man paints himself more and more, in portraits and in his daily activities. And when man paints landscapes, it is his view of the world that art illustrates ever more exclusively.
5) In this short history of the swelling of man, considered from the point of view of painting, it is possible to skip an aesthetically very important stage: that of Modern Art (1850-1950).
Why? Because the ideological diversity that characterises this period of European history does not allow us to identify any remarkable constants from the point of view of anthropomorphism and anthropocentrism outlined here. Modern art rediscovers or renews old aesthetic techniques, it invents new ones like abstract art. It is therefore a source of very important stylistic breaks, but overall it remains an art that is intended to be beautiful, significant and shared with the greatest number of people. From the ideological point of view and from the point of view of anthropocentrism and anthropomorphism, Modern Art is only the continuation of the previous transition period in Southern Europe. It is also the generalization of the underlying trends that emerged in the 17th century in the Reformed Netherlands. The total rupture between art and aesthetics was not envisaged at that time. The "massacre of painting" only becomes an obvious fact and a constant with Official Contemporary Art, after the Second World War.
6) From the second half of the 20th century, God and the sacred characters disappeared completely from the Official Contemporary Art. Even in the United States, a country where the Christian religion seems to have retained more social importance. But what is the political importance? The question arises seriously when in the Official Contemporary Art of the whole West only Man and his works remain.
With an absolutely remarkable novelty: the ugly and the absurd.
Unlike Modern Art, Official Contemporary Art constitutes a total break with the human artistic past: the anti-esthetic was born and made totally mandatory in official circles. Ugliness and absurdity are a characteristic of official contemporary art, but not only. Despite notable resistance, the contagion of the ugly and the absurd also spread to street art and private commercial art. These portraits of the human being that are exhibited in our contemporary art museums, if we compare them to those made by artists of the past, have a meaning. The death of God among the "enlightened elites", the cult of Reason, Man, the Future, Progress, Modernity, Materialism and Money is reflected in Official Contemporary Art by a vision of the man of a repulsive ugliness and total absurdity,both systématic. Is it an alarm signal from the collective human unconscious?
The major defect of the human animal is undoubtedly pathological anthropocentrism. If man is descended from the monkey, according to some evolutionary theories that it is inappropriate to criticize, it is obvious that it is from a monkey that increasingly sees itself as a god, and even as God.
This anthropocentrism is expressed in different ways. It directly inspires the neurosis of the "chosen people" for more than two millennia, a neurosis, widespread, mild or severe, but which may be close to severe psychosis and which is very pronounced in Semitic cultures and monotheistic religions. Even when anthropomorphism is absent because of the refusal to represent God and any religious iconography, as in judaïsm and islam. In the West, heavily influenced by Semitic myths, through Judaism and Christianity, anthropocentric megalomania has grown steadily throughout history.
"The death of God" is obviously understood and celebrated by a whole "enlightened" ideology as necessarily being the promotion of human beings. The proof: before the "Lights" man had only Duties, and after the "Lights" he finally has Rights. It is the vision of the history of humanity imposed by the official contemporary religion in the West. The West has invented religion against God, the religion of Man, even and especially when it still agrees to refer to an "Architect of the Universe".
But we may have to look elsewhere than in Europe and the Americas:
This complex of the "chosen animal" is much less present in Indian-Hindu civilization, where man, without being a negligible quantity, (is the only being able to free himself from the wheel of rebirths), is much more a being among an infinite number of others. This world view has influenced Buddhism and all the societies that this philosophy-religion has imbued with its values.
Chinese civilization is more ambivalent, but the painting of Chinese scholars paints man as "a small thing" in Nature. This art of the Chinese scholars, neither anthropocentric nor anthropomorphic, is very far from Western painting.
It is urgent that Europe and the West accept to hear some civilising concepts coming not from a certain Middle East, from which they have obviously borrowed far too much, but from other parts of the world, from the Far East for instance. Without denying their particularities, in particular their attachment to individualism and to a personalism that is a source of precious freedoms and autonomy. It is urgent that the West stop thinking of itself as the navel of the world, distrust the use it makes of its science and technology, renounce taking its current beliefs as the only true and universal truth, and imagine that it is destined to dominate the world in a Worldist Republic from which he would draw the ideological, political and economic strings.
The political and ideological elites of the West claim to be enlightened and anti-racist, but they have always remained faithful to the elementary thinking of Freemason Jules Ferry (1832-1893) when he stated: "It is a duty superior of the civilization which legitimizes the right to go to the barbarians. " Or, a another "enlightened" statement. "The higher race does not conquer for pleasure, in order to exploit the weak, but to civilize it and raise it up to it."
Or Léon Blum this time, on July 3, 1925, before the French deputies: "We recognize the right and even the duty of the superior races to attract to them those who have not reached the same degree of culture and to call them to progress achieved thanks to the efforts of science and industry".
The "enlightened" West does not take this path of truly informed intelligence while Colin Powel (1937) still states in 1992 "We represent the last and best hope on this planet."
Jean de La Fontaine (1621-1692) described this phenomenon well: It is a frog talk that, wanting to make itself as big as an ox, swells until it explodes.
Unfortunately, the science and technology of which the West has been the indisputable and most effective inventor have been, from the 17th century, when they were announced, until today, factors aggravating human megalomania, particularly European and Western, but not only. While a well understood science, not perverted by ideologies and politics, should have had the opposite effect. It is absolutely obvious to men of science and wisdom that the more man discovers, the less he knows. And the more modest he must remain, even and especially when his technical resources increase. The more man develops a technical power, often fallacious, misleading, limited, full of dangers, the less he should behave as an anthropocentric, the more he should distrust his powers and resituate himself in a Universe that totally exceeds him, of which he is not the centre, and where it has become absolutely obvious that he is not alone. In short, man is not the Creature of God, One, Chosen, Allied, Privileged, that he has believed to be for centuries in the context of monotheistic religions.
It doesn't really matter if man anthropomorphizes. Anthropomorphism is only an empathic and pedagogical convenience for people with a simple heart, which does not mean a simplistic spirit.
It is also a fact that anthropomorphism has inspired more than 3000 years of beautiful, significant and shared art not only in Europe but also in the world.
In contrast, anthropocentrism, the swelling of man, is a very serious perversion. To think of oneself as "the chosen people" is simian, as Rudyard Kipling poetically and analogically demonstrated in the "Jungle Book". Since the middle of the 20th century, the Official Contemporary Art, Conceptual Art has also emphasized that the elitist anthropocentrism of the Enlightened has generated for the first time in the history of civilizations an anti-art of ugliness and absurdity.
It is not tomorrow that humans will correct their tendency to overvalue their selves. The "Enlightened" of Globalism, the ideology that governs the current West, stubbornly continue in the same direction of a swelling of man and his capacities always supposedly in progress.
Until the man disappeared? This is not impossible, it is very possible. This is what some "Elohim" have warned us about.
Hans Burgkmair I 1473-1531. Augsbourg.
Sainte Barbe Sainte Barbara. Berlin Gemäldegalerie.
L'ART MIROIR DES VALEURS D'UNE SOCIETE (2)
"Regardez notre art, nous avons l'esthétique de notre éthique : un cri dans le désert.
Jean DUCHE". Le Bouclier d’Athéna. L'Occident, son histoire, son destin. 1983
"Une œuvre est reconnue comme œuvre d'art parce qu'elle a subi victorieusement l'épreuve de la critique, de l’opinion publique commune et du temps."
Mikel DUFRENNE (1910-1995 Universalis. article Œuvre d’art)
Nos manuels d’histoire font généralement commencer les Temps Modernes à la prise de Constantinople par les Turcs en 1453 (ou à la découverte de l’Amérique en 1492)
Cette date coïncide avec une grande période artistique : la Renaissance. On était à la veille de la Réforme qui devait si fort bouleverser l’évolution des arts. Pourtant malgré tant d’importants changements il n’y eut pas alors de véritable rupture dans les traditions. L’art conservait sa place selon les mêmes conceptions, le but que poursuivaient les artistes restait dans son essence le même et personne ne songeait à le mettre en question : il s’agissait de fournir de beaux objets. L’art c’était le Beau.
Certes on disputait de la définition du Beau : imitation fidèle de la nature ? Idéalisation de la nature ?
Vers la fin du XVIII è siècle ce fonds commun semble se désagréger peu à peu. On atteint au seuil des véritables temps modernes qui commencent avec la révolution française qui allait mettre fin à quantité de croyances admises durant des siècles.
Les nouvelles conceptions artistiques tiraient leur origine du siècle des Lumières.
On remit en question la notion de style correct et celle de bon goût.
ERNST GOMBRICH Histoire de l'Art
L'Art est ce que vous croyez. Et l'art vous fait croire en ce que vous croyez. L'art vous fait aussi croire en ce que vous ne croiriez pas, si vous étiez libre de croire. Et si vous ne croyez plus en rien ? Même pas en l'homme ? Seulement en vous-même, au mépris de tous les autres ? C'est l'Art Contemporain Officiel.
L'art est une expression de la manipulations des hommes par leurs élites gouvernantes, politiques et idéologiques. C'est un fait historique. Reste une question : cette manipulation est-elle bénéfique, créatrice d'une civilisation durable dans une société donnée ? Ou cet art et l'idéologie qu'il sert sont-ils stériles et conduisent-ils à la mort des sociétés auxquelles ils ont été imposées ? Il existe là aussi des exemples historiques.
L'Histoire de la peinture européenne démontre une vérité : l'Art est fondamentalement idéologique et politique. Dans la Politique Aristote a défini l'homme comme un animal politique. Et l'homme se gouverne et est gouverné par des croyances, des idéologies. L'Art est idéologique c'est à dire qu'il est le reflet, l'expression, du système de valeurs qui façonne une société donnée à une époque donnée. L'Art est politique car ce système de valeurs est toujours imposé par les puissances gouvernantes de l'époque. Ces puissances gouvernantes ne se confondent pas nécessairement avec les chefs politiques au pouvoir. Ce sont des Influences qui débordent souvent le cercle étroit des dirigeants manifestes, les politiciens.
L'art de tous les temps et dans toutes les sociétés est un moyen pour les élites d'imposer une religion (sacrée) ou une idéologie (profane, laïque). Dans toutes les civilisations l'art de chaque époque se comprend donc au travers du filtre idéologique qui inspire les élites de cette civilisation à cette époque.
L'art est donc un intéressant révélateur de la pensée philosophique et morale qui anime les élites d'une société donnée en un temps donné.
La peinture Egyptienne permet d'apercevoir les croyances de ce peuple à son époque. On y voit clairement le reflet d' une société bien équilibrée, également partagée entre un amour de la vie quotidienne, celle du peuple et celle des élites, et des espérances concernant l'au delà. Espérances qui, contrairement à ce qui a été écrit, n'étaient pas réservées au Pharaon. On y lit l'existence d'une société relativement libre, où la femme est très présente, égale de l'homme dans toutes les classes de la société. Sans entrer dans les détails, l'art des civilisations de la Mésopotamie, à la même époque, ne présente pas les mêmes caractéristiques.
L'art des lettrés chinois est un reflet des conceptions du monde taoïstes et confucianistes. Il est significatif que dans d'immenses paysages, l'homme y est toujours présenté comme une créature agissante, pensante, mais presque insignifiante. Un être parmi les Dix mille Êtres. Le commandement premier est de ne pas troubler l'harmonie de l'Univers. Il est clair aussi que cet art ne reflète pas les valeurs de la société chinoise dans son ensemble mais d'une petite minorité. Cet art n'est pas destiné aux populations, c'est un art séparé.
L'Art hindouiste exprime l'extraordinaire complexité, la profondeur, des interrogations philosophiques et religieuses qui caractérise la civilisation indienne. On y voit clairement que l'une des idées essentielles de la spiritualité hindoue est que la vérité à des visages multiples, et même apparemment contraires. La profusion des Dieux qui fait que certains esprits simples croient voir dans l'hindouisme religieux un polythéisme est le symbole de cette multiplicité des aspects de la vérité. L'homme tient dans l'univers une place éminente, mais il reste une créature parmi d'autres, au sein d'un univers complexe qui le dépasse beaucoup, dans le temps comme dans l'espace.
L'Art de l'Antiquité Grecque et Romaine donne l'image d'une société équilibrée mais où l'humain a pris beaucoup d'importance. L'Homme domine clairement un monde où il vit sa vie, mais cependant toujours à condition de se tenir à distance des Dieux, tout en les honorant. On n'aperçoit pas en Grèce ou à Rome, à la différence de l' Egypte, de grandes espérances métaphysiques. La Vie c'est la vie, puis la mort. Point.
L'Art, la peinture en particulier, montre que pendant Mille Cinq Cent ans (500-1500) l'Europe a construit sa société sur les fondements de la spiritualité et de la morale catholique et orthodoxe. 1500 ans cela constitue des racines. Ces racines peuvent être totalement oubliées, si l'élite le veut. Et elle le veut. Au Proche Orient absolument rien n'a subsisté, après les invasions musulmanes, d'une domination de la civilisation gréco-romaine qui avait pourtant duré, elle aussi, plus de mille ans. Mais les racines, profondes, au Proche Orient étaient sémitiques pas indo-européennes. La Grèce et Rome n'étaient qu'une greffe superficielle. Les "Maîtres du monde" occidental on décidé, depuis les "Lumières", qu'ils feraient table rase du passé catholique et orthodoxe de l'Europe, et que les valeurs que ces religions représentent seraient abolies. Depuis la seconde guerre mondiale ils sont en train de réussir pleinement. Jusqu'alors les peuples européens, surtout au sud, avaient résisté. Mais le laminoir de l'éducation publique et des médias agit efficacement. De telle sorte que ces religions ne seront bientôt pas plus vécues par les populations européennes que la religion égyptienne antique dans l'égypte moderne. Ce n'est pas un jugement, un regret, ou une espérance, c'est un fait.
La peinture des Pays Bas du Nord, protestants, met en évidence l'existence d'une rupture très claire, et très rapide, en l'espace d'une ou deux générations, des valeurs qui animent une partie de la société européenne.
D'une part c'est la disparition des références à l'Antiquité Grecque et Romaine. La revanche de l'Europe du Nord sur celle du Sud n'est pas seulement économique, elle est culturelle.
D'autre part c'est la quasi disparition des thèmes religieux. C'est la naissance d'une peinture, profane, matérialiste, dont les thèmes sont : Le paysage, les moeurs de la vie en société, la nature morte, le portrait. La peinture du Siècle d'Or néerlandais est l' acte de naissance de la peinture que l'on appellera "Art Moderne".
Pas seulement dans le domaine du paysage, comme l'histoire universitaire de l'art le reconnaît tout à fait exactement : idéologiquement et sociologiquement tout l'Art Moderne européen, et ensuite l'art de la peinture occidentale, a pris d'autres orientations inspirées par le siècle d'Or néerlandais. Pas ou peu du point de vue du style, mais quant aux thèmes de la peinture. Ces orientations, protestantes, rationalistes, matérialistes, naturalistes, vont mettre deux siècles (1650-1850), et même un peu plus, à s'imposer dans le reste de l'Europe et ensuite en Occident. Constatons un fait : L'historiographie universitaire, celle destinée au grand public, l'histoire racontée par les Encyclopédies (Wikipédia, Universalis, Britannica, Larousse…) est une reconstruction qui fait le silence sur une des composantes absolument essentielles de l'histoire humaine : les Idéologies, ou en langage simple : les Croyances. Les doctes le savent très bien, mais ils doivent se conformer : Les idéologies (les croyances) dans l'art, et dans l'histoire événementielle, ce n'est pas un sujet convenable, "objectif". Il est impératif de les dissimuler. Dans Wikipédia l'article n'aura pas le label "vous lisez un bon article". Pourtant, c'est un fait : l'idéologie est l'angle de vue absolument incontournable pour comprendre l'histoire des hommes depuis le paléolithique jusqu'à nos jours, dans toutes les civilisations. Ce n'est pas un critère naturel à l'échelle de tous les Êtres vivants : Ce n'est pas une optique intéressante pour observer les fourmis ou les loups, qui sont cependant capables de former des sociétés très organisées. Mais les humains ont ce privilège de créer ou de détruire, plus ou moins, parfois beaucoup plus ou beaucoup moins, au nom des idéologies, au nom de leurs croyances. Au 17e siècle, aux Pays-Bas du Nord, il est indiscutable qu'un regard différent sur l'humanité s'est amorcé et même accompli, qui a construit une société remarquablement en avance sur beaucoup d'autres à la même époque. Ce regard idéologique s'est traduit en peinture. Et le résultat a été beau. Pas plus beau, beau aussi, mais mieux en convergence avec nos sensibilités actuelles en Europe et en Occident, dont cet art est l'annonce, tout en restant techniquement abouti. Ce n'est pas encore l'ère de l'art bâclé, laid, absurde et provocateur
A partir de 1815, une fois la paix revenue en Europe, et jusque vers 1950, en dates grosses et larges, c'est la période de l'Art Moderne. Dès l'époque romantique la peinture explose en une multitude de courants représentatifs de conceptions du monde et de valeurs extrêmement diverses. Globalement, et malgré les conflits très violents, l'Europe n'est pas soumise à une idéologie unique. La peinture montre cette diversité d'inspiration. Du romantisme au classicisme, du réalisme à l'expressionnisme, du symbolisme au surréalisme, du néo-raphaélisme au fauvisme, de l'art académique à l'impressionnisme, du figuratif à l'abstrait c'est une explosion de diversité, de recherches, d'innovations. Mais le passé européen n'est pas rejeté, ni moralement, ni culturellement, ni techniquement. L'Architecture montre aussi très bien cette diversité : c'est à la fois le temps de la Tour Effel, et l'époque de toutes les architectures historicistes : néo-grec, néo-romain, néo-byzantin, néo-roman, néo-gothique, néo-baroque. C'est surtout une époque de grande liberté artistique : l'art s'invente à la base comme au sommet de la pyramide sociale. L'élite n'est plus la seule inspiratrice de l'esthétique européenne. Pourquoi ? Parce que les élites européennes sont idéologiquement divisées. Cette division des élites va être la cause de la mort des peuples sur les champs de bataille. Mais cette division des élites va être aussi à l'origine de la diversité de l'Art Moderne.
Un chant du cygne ?
A partir de 1950 la peinture européenne change : On le constate dans nos musées d'Art Contemporain.
Les élites idéologiques occidentales ont décidé une inversion totale des valeurs qui gouvernaient l'art européen depuis 3000 ans et notamment imposé l'idée que l'art de la peinture et la sculpture ne devaient pas nécessairement être beau. Le Beau était selon les nouveaux Influents un concept dépassé.
En réalité c'est la notion même d'un art qui serait un partage d'idées et d'émotions communes entre les élites et les peuples qui est reniée avec l'Art Contemporain (l'Art Moderne II selon les dernières tendances). Cet "Art" nait aux Etats Unis dans les années 1920, à partir d'idées européennes et même françaises (Duchamp), et s'impose en Europe après la seconde guerre mondiale. L'art laid et absurde, provocateur jusqu'à l'abjection, faussement révolutionnaire, mais totalement académique, est un art imposé car politiquement et idéologiquement conforme.
Des questions se posent inévitablement :
Quelles valeurs de civilisation cette peinture contemporaine reflète ?
Quelles fidélités, et quelles espérances ?
Quelles beautés ?
Quelles significations, métaphysiques ou physiques, symboliques ou réalistes ?
Quelles croyances ?
Quelle vie pour aujourd'hui ou demain ?
Sauf le public des scolaires et de leurs enseignants, public contraint d'être là, les musées d'art contemporains d'Occident sont vides. Le jugement esthétique s'établit par la conjonction de l'avis des peuples et des élites à une période donnée mais aussi au cours des siècles.
Depuis 1950s l'Art Contemporain officiel des musées a eu le temps de faire ses preuves dans le présent : les peuples d'occident s'en détournent en masse. On verra bien quel sera le jugement de l'avenir à propos d'une peinture qui revendique expressément le laid et l'absurde comme thèmes d'expression esthétique. Il est possible de conduire une politique ou de faire des affaires contre les peuples, mais on ne fait pas un art durable contre les peuples. Et on peut attendre avec intérêt le verdict de l'histoire sur "l'Art Contemporain". L'histoire ne s'est pas encore prononcée à ce sujet, il est bien trop tôt, mais on commence à lire, en français, des avis de spécialistes de l'art qui s'écartent de la louange idéologiquement et économiquement obligée, comme le livre de Christine Sourgins "Les Mirages de l'Art Contemporain. Brève histoire de l'art financier" aux éditions de la Table Ronde 2005 et 2018. Ou encore comme les livres de Aude de Kerros "L'Art caché, les dissidents de l'art contemporain" Eyrolles 2007 et 2013 et "L'imposture de l'Art contemporain, une utopie financière" Eyrolles 2016. En anglais l'article "How Modern Art Serves the Rich" by Rachel Wetzler, in the Republic de February 26, 2018 est aussi très intéressant.
L'affirmation selon laquelle l'art d'une époque est commandé par les croyances actives en son temps est une évidence pour tout le monde, quand le sujet de l'étude est l'art Égyptien, l'art Grec ou l'art de l'Europe médiévale. Aucune contestation ne s'élève. Il est unanimement admis que l'art de l'Europe médiévale est le reflet des valeurs de la religion catholique, qui en a conditionné toutes les représentations notamment en peinture. Le constat est considéré comme une vérité d'évidence sans intérêt.
Par contre, dès que cette clé de lecture et de compréhension de l'art, est appliquée à l'Europe de la Réforme, puis à l'art Moderne, et encore plus à l'Art Contemporain de l'Occident, de fortes réserves, des réticences, des circonspections, des contestations apparaissent. Il n'y a plus d'évidences, mais des synthèses hasardeuses et polémiques, conspirationnistes dira-t-on de nos jours. La même clef, qui était reconnue opérante, mais banale, insignifiante, sans grand intérêt, pour les temps du passé lointain, est ressentie comme agressive, outrancière, quand elle est utilisée pour les temps actuels ou pour les périodes proches de nous.
Pourquoi?
Une clé qui ouvre les portes d'une compréhension, simple mais efficace, de l'art d'une civilisation qui s'est épanouie 2500 ans avant notre ère, et encore de civilisations ayant duré de cinq siècles avant notre ère à cinq siècles après, qui fonctionne encore pendant plus de 1000 ans pour toute l'Europe, de 500 à 1500, doit aussi être efficace du 17è siècle au 21è siècle.
Cette clef est simple et toujours efficace, mais elle est devenue totalement dérangeante, et l' historiquement correct à destination du grand public la met de côté. Cette clé est acceptée pour le passé lointain, et les civilisations étrangères, mais pas pour le passé récent et pas pour notre présente société. L' historiquement correct existe en effet dans l'histoire de l'art comme dans le domaine de l'histoire événementielle.
L'homme de tous les temps n'a jamais aimé qu'il lui soit démontré qu'il vit en fonction de croyances, souvent respectables, souvent aussi très efficaces en pratique, au plan social et politique, mais qui sont tout à fait contingentes, qui sont des vérités très relatives, ou même seulement des erreurs communes, des superstitions partagées.
Les hommes veulent bien qu'il leur soit démontré que leurs ancêtres, ou leurs voisins plus ou moins lointains, ont vécu ou vivent conditionnés par une religion ou une idéologie profane qui n'est qu'une vision du monde hypothétique. Mais ils n'acceptent pas d'appliquer à eux-mêmes, et à leur époque, cette clé de lecture. Le relatif, l'hypothèse, l'erreur, c'est pour les époques passées ou pour les autres, mais eux vivent dans la vérité. L'homme n'a jamais aimé qu'il lui soit démontré que ses rêves du monde, ses vérités, absolues et incontestables, n'existent que pour lui, et seulement pour son époque. Que ces vérités n'existent pas du tout, ou peu, ou moins, ou très différemment, dans d'autres lieux et dans d'autres temps.
Un des grands principes de toutes les croyances, sacrées ou profanes, principe d'intolérance maximale, rarement efficacement combattu, qui n'a rien de surréaliste, mais qui est au contraire tout à fait réaliste, est celui ci: "Même si c'est vrai, c'est faux" et son corollaire "Même si c'est faux, c'est vrai". C'est faux parce que ce n'est pas conforme à ce que nous croyons à un moment donné de l'histoire. Et le faux avéré, établi, est quand même vrai pour le même motif de conformité à l'idéologie régnante.
L'aveuglement des humains quant aux idéologies actives à leur propre époque est un constat qu'il est possible de faire tous les jours. Dans un reportage sur une grande chaîne de télévision à propos de la Chine actuelle le commentateur a déclaré avec le plus grand sérieux : " Le Petit Livre Rouge n'a pas eu raison des superstitions. Les vieilles croyances n'ont pas totalement disparues". Comme si le Petit Livre Rouge, et le marxisme, n'avaient pas été une des plus grandes superstitions de tous les temps. Une des plus grandes religions laïques jamais inventée, sous le couvert d'une rationalité faussement scientifique. Comme si nos idées actuelles sur le monde n'étaient pas elles-mêmes des croyances infiniment relatives :
"Les Lumières" sont une accumulation de superstitions (Liberté, Egalité, Fraternité,Raison, Révolution, Progrès, Bonheur, Démocratie, République Universelle...), mais elles sont actuellement actives, elle ne sont pas vieilles, donc elles sont "vraies". Les superstitions auxquelles l'homme croit ne sont évidemment pas des superstitions. Les superstitieux ce sont les autres.
C'est ainsi que le Discours officiel, correct, encyclopédique (Wikipédia par exemple), prétend que l'Art Contemporain est indépendant des idéologies, qu'il s'est libéré des doctrines comme le fascisme le nazisme et le communisme. Bref l'Art Contemporain est à l'image de la statue de la Liberté : une Icône de la Vérité, une nouvelle Vierge, vierge de toute superstition. En réalité l'Art Contemporain Institutionnel est le pur produit d'une idéologie qu'il convient d'identifier clairement car elle se dissimule, contrairement aux idéologies religieuses et profanes qui ont constamment inspiré les arts européens et mondiaux. La contemporanéité n'échappe pas aux idéologies contrairement à ce qu'elle affirme.
Ce n'est pas une réaction populaire qui caractériserait seulement les analphabètes. Les personnes instruites, les intellectuels et les idéologues y sont tout particulièrement soumis. Ils ont élaboré une vision du monde et ils y souscrivent d'autant plus qu'ils l'ont inventée et qu'elle sert leurs intérêts. Ils ne veulent pas admettre que leurs conceptions du monde sont relatives, que c'est une affaire de point de vue. Et qu'il est possible d'en changer. La réponse immédiate est l'anathème, l'exclusion, la crucifixion ou le bûcher. Les mises en accusation pour sorcellerie, blasphème, réaction, racisme, conspirationnisme etc...fonctionnent exactement de la même manière à toutes les époques de l'histoire. L'esprit scientifique dont l'Occident se vante d'être la terre d'origine, sans doute avec raison, n'a absolument aucune influence dans ce domaine. La Science est constamment sous la surveillance étroite des Idéologues, des Financiers et des Politiques.
Les "Eclairés" de notre société des "Lumières" sont au moins aussi intolérants que les croyants des temps passés et des civilisations lointaines. Leur doctrine proclame que tout ce qui a vécu, pensé, agi, avant "les Lumières" est obsolète. Eux seuls, sont l'incarnation de la Raison éclairant le Monde. Ils sont la nouvelle "Révélation". Tous les autres avant, et tous les contemporains égarés, qui ne pensent pas selon leurs schémas, sont dans l'Erreur. Et c'est définitif, car bien sûr ils sont la Modernité pour Mille ans, et même bien plus, pour l'Eternité. Les "Lumières" c'est pour plus longtemps que la vie même ! C'est exactement ce que signifie la Statue de la Liberté, ouvrage maçonnique, à l'entrée du port de New York. Tout discours qui tend à montrer que leur doctrine ne fait que systématiser des vérités très contingentes et très fragiles, de simples hypothèses, des points de vue très relatifs sur le monde, est inacceptable. Les Idéologues occidentaux ne peuvent admettre qu'ils ne sont que les serviteurs d' une vision du monde parmi d'autres possibles, tout aussi valables ou même plus. C'est ainsi que le monde occidental aboutit à l'Art Contemporain Officiel : l'art des Guidestones et de la Corporatocratie Illuminée.
L'Art Contemporain Institutionnel est un anti-art, sur commande, mondialiste, étatique et supra-étatique, public et privé, qui combine sept constantes que l'on retrouve dans presque tous les musées européens: Il est laid, absurde, provocateur, bâclé, triste, déraciné, obsessionnel, et comme conséquence de tout cela, totalement artificiel.
Un art qui se dit démocratique et universaliste mais qui n'est en définitive qu'un art d'état, anti-national, anti-populaire, néocolonialiste qui avance masqué derrière de grandes idées proclamées qui sont seulement les superstitions des temps contemporains.
Les religions c'étaient craindre et adorer les Dieux ou Dieu. L'homme était au second plan. La pensée actuellement correcte impose de critiquer cette vision multi-séculaire du monde. Les idéologies contemporaines qui ont remplacé les religions, du moins en Occident, sont clairement une adoration de l'Homme. Il se pourrait que cela conduise aussi beaucoup à craindre les hommes. Car les hommes avec les Dieux ou Dieu, ce n'était déjà pas l'idéal, mais sans Dieux, ni Dieu...? C'est peut-être bien pire.
Quand l'homme ne croit plus qu'en Mac Donald ou KFC, il y a peut-être, sans être excessivement pessimiste, du souci à se faire. Certes, ce n'était pas mieux quand l'homme croyait dans le Parti Unique des Éclairés Léninistes ou Maoïstes... Dont les "sociétés sans classe" et les "paradis sur terre" se sont effondrés en moins de deux décennies après avoir provoqué une centaine de millions de morts, dont personne ne se soucie plus. Mais qui se soucie des morts ? Il faudrait faire une moyenne entre nos croyances les moins stupides. Avec un peu de bon sens et moins de croyances peut être ? Impossible. On n'est pas des fourmis.
ART, MIRROR OF THE VALUES OF A SOCIETY (2)
"Look at our art, we have the aesthetics of our ethics: a cry in the desert."
Jean DUCHE. The Shield of Athena The West, its history, its destiny 1983
"A work is recognized as a work of art because it has won the test of criticism, public opinion and time."
Mikel DUFRENNE (1910-1995 Universalis. Artwork)
Our history textbooks generally start "Modern Times" with the taking of Constantinople by the Turks in 1453 (or the discovery of America in 1492)
This date coincides with a great artistic period: the Renaissance. We were on the eve of the Reformation, which was to revolutionize the evolution of the arts so much. However, despite so many important changes, there was no real break in traditions. Art retained its place according to the same conceptions, the aim pursued by the artists remained in its essence and no one thought to question it: it was to provide beautiful objects. Art was beauty.
Certainly the definition of Beautiful was disputed: faithful imitation of nature? Idealization of nature?
Towards the end of the 18th century, this common collection seemed to gradually disintegrate. We are reaching the threshold of true modern times, which began with the French revolution that would put an end to many beliefs that had been accepted for centuries.
New artistic conceptions had their origin in the Enlightenment.
The notion of correct style and good taste was questioned.
ERNST GOMBRICH Art History
Art is what you believe. And art makes you believe in what you believe. Art also makes you believe in what you would not believe, if you were free to believe. What if you don't believe in anything anymore? Not even in man? Only in yourself, in defiance of all others? That's Official Contemporary Art.
Art is an expression of the manipulation of men by their governing, political and ideological elites. This is a historical fact. A question remains: is this manipulation beneficial, creating a sustainable civilization in a given society? Or are this art and the ideology it serves sterile and lead to the death of the societies on which it has been imposed? Here too there are historical examples.
The history of European painting shows a truth: Art is fundamentally ideological and political.
In Politics Aristotle defined man as a political animal. And man governs himself and is governed by beliefs, ideologies. Art is ideological ie it is the reflection, the expression, of the value system which shapes a society at a given time. Art is political because this system of values is always imposed by the ruling powers of the time. The governing powers do not necessarily overlap with the political leaders in power. These are Influences that often extend beyond the narrow circle of manifest leaders, the politicians.
The art of all times and in all societies is a means for the elites to impose a (sacred) religion or an ideology (secular, secular). In all civilizations the art of each era is understood through the ideological filter that inspires the elites of this civilization at that time. Art is therefore an interesting revealer of the philosophical and moral thought that inspires the elites of a given society in a given time. These religions or ideologies can differ a lot as to the benefit that peoples will or will not withdraw. Some are conducive to the establishment of long-term civilizations (ancient Egypt, Greek-Roman antiquity, Christianity, Hinduism, Buddhism, Islam ...) others are more or less rapidly mortal (Aztec and Inca religions, Communism, national Socialism).
Indeed, certain ideologies, sacred or secular, conceived by the elites, have been, more or less short term, accepted and totally shared by the peoples who adhered to it without reluctance. They can then impose themselves completely without hurting the feelings and freedoms of the people, or at least a largely significant majority, even unanimity within their society for a long period of time.
Other ideologies, on the other hand, have been imposed by the elites, but did not generate the membership unanimous or majority of peoples that came into resistance, passive or active with more or less success after a shorter or longer period.
It is possible to encounter a different situation in the history of the world: those of ideologies, sacred or secular, often of foreign origin which have been adopted, or would have been adopted by peoples, but were fought by the elites ideological and political of the country.
The Egyptian paint allows to see the beliefs of the people in his time. It clearly shows the reflection of a well-balanced society, also shared a love of everyday life, that of the people and the elite, and the Hopes for the afterlife. Expectations that, contrary to what was written, were not reserved for the Pharaoh. We read the existence of a relatively free society, where women are very present, equal to men in all classes of society. Without going into details, the art of the civilizations of Mesopotamia, at the same time, does not have the same characteristics.
The art of the Chinese literati is a reflection of the Taoist and Confucian concepts of the world. It is significant that in immense landscapes, the human is always presented as an creature, acting, thinking, but almost insignificant. A Being among the ten thousand Beings. The first commandment is not to disturb the harmony of the universe. It is also clear that this art does not reflect the values of Chinese society as a whole, but a small minority.
Hindu Art expresses the extraordinary complexity, the depth of philosophical and religious questions that characterize Indian civilization. It is clear that one of the essential ideas of Hindu spirituality is that the truth has multiple faces, and even apparently opposite ones. The profusion of Gods, which makes certain simple minds believe that religious Hinduism is a polytheism, is the symbol of this multiplicity of aspects of truth. Man holds an eminent place in the universe, but he remains a creature among others, in a complex universe that is far beyond him, both in time and space.
Art, the painting in particular, shows that during Thousand Five Hundred Years (500-1500) Europe has built his society on the foundations of spirituality and morality Catholic and Orthodox. 1500 years this is roots. These roots can be completely forgotten, if the elite wants. And she wants. In the Middle East absolutely nothing has remained, after the Muslim invasions, of domination of the Greco-Roman civilization, although it had lasted, too, over a thousand years. But deep roots in the Middle East, were Semitic. They where not Indo-European. Greece and Rome were only a superficial graft. The "masters of the Western world" have decided, since the "Enlightenment", that they would make a clean sweep of the catholic and orthodox past of Europe, and that the values that these religions represent would be abolished. Since the second world war they are succeeding fully. Until then the European peoples, especially in the south, had resisted. But the rolling mill of public education and media acts effectively. In such a way that these religions will soon be no more lived by the European populations than the ancient Egyptian religion in modern Egypt. It is not a judgment, a regret, or a hope, it is a fact.
The painting of the Netherlands Northern, Protestant, reveals the existence of a very clear rupture, and very fast, within one or two generation, of the values that animate a part of European society.
On the one hand it is the disappearance of references to ancient Greek and Roman. Revenge of northern Europe on the South is not only economic, it is cultural.
On the other hand it is the virtual disappearance of religious themes. This is the birth of a painting, secular, materialist, whose themes are: landscape, customs of social life, still life, portrait. The painting of the Dutch Golden Age is the birth of painting which will be called "Modern Art".
Not only in the field of landscape, as the university history, of art recognizes quite exactly: ideologically and sociologically all European Modern Art, and later the art of Western painting, took other directions inspired by the Dutch Golden Century. Not or little from the point of view of style, but as far as the themes of painting are concerned. These orientations, Protestant, rationalist, materialist, naturalist, will take two centuries (1650-1850), and even a little more, to impose themselves in the rest of Europe and then in the West. Let us note a fact: University historiography, that intended for the general public, the history told by the Encyclopaedias (Wikipedia, Universalis, Britannica, Larousse...) is a reconstruction that silences one of the absolutely essential components of human history: the Ideologies, or in simple language: the Beliefs. Doctricians know it very well, but they must conform: Ideologies (Beliefs) in art, and in event history, is not a suitable, "objective" subject. It is imperative to conceal them. In Wikipedia the article will not have the label "you read a good article". However, it is a fact: ideology is the absolutely unavoidable angle of view to understand the history of mankind from the Paleolithic to the present day, in all civilizations. It is not a natural criterion on the scale of all living beings: It's not an interesting viewpoint for observing ants or wolves, who are, however, capable of forming highly organized societies. But humans have this privilege to create or destroy, more or less, sometimes much more or much less, in the name of ideologies, in the name of their beliefs. In the 17th century, in the Northern Netherlands, it is indisputable that a different view of humanity was initiated and even accomplished, which built a society that was remarkably ahead of many others at the same time. This ideological outlook was translated into painting. And the result was beautiful. Not more beautiful, beautiful too, but better in convergence with our current sensitivities in Europe and in the West, of which this art is the advertisement, while remaining technically accomplished. This is not yet the era of botched, ugly, absurd and provocative art
Since 1815, when peace returned to Europe, and until about 1950, in large and wide dates, it is the period of Modern Art. Since the romantic era, the painting explodes in a multitude of currents, representative of worldviews and values, extremely diverse. Overall, and despite the very violent conflicts, Europe is not subject to a single ideology. The painting shows the diversity of inspiration. From romanticism to classicism, from realism to expressionism, from symbolism to surrealism, from raphaélisme to fauvisme, from academic art to impressionism, from figurative to abstract, it is an explosion of diversity, research and innovations.
But the European past is not rejected, neither morally or culturally or technically. The architecture also shows very well this diversity: it is both the time of the Eiffel Tower, and times of all historicist architectures: Greek Revival, neo-Roman, neo-Byzantine, Romanesque, neo-Gothic, neo-Baroque.
It is especially a time of great artistic freedom: art is invented at the base as at the top of the social pyramid. The elite is no longer the only inspirer of European aesthetics. Why ? Because the European elites are ideologically divided. This division of the elites is going to be the cause of the death of the peoples on the battlefields. But this division of the elites will also be at the origin of the diversity of Modern Art.
A swan song?
After 1950 European painting changed: This can be seen in our museums of Contemporary Art.
The Western elites have decided a total reversal of the values that have governed European art for 3000 years and imposed the idea that the art of painting and sculpture need not necessarily be beautiful. Beauty was, according to the new Influents, an outdated concept. In reality it is the very notion of an art that would be a sharing of ideas and common emotions between elites and peoples that is denied with Contemporary Art (Modern Art II according to the latest trends). This "Art" was born in the United States in the 1920s, from European and even French ideas (Duchamp), and was imposed in Europe after the Second World War. The ugly and absurd art, provocative until abjection , falsely revolutionary, but totally academic art is an imposed art because politically and ideologically compliant.
Various questions inevitably arise:
What values of civilization reflects this contemporary painting ?
What loyalties, and what hopes?
What beauty?
What meanings, metaphysical or physical, symbolic or realistic?
What beliefs?
What a life for today or tomorrow?
Except the public of the school and their teachers, public forced to be there, the contemporary art museums of the West are empty. The aesthetic judgment is established by the conjunction of the opinion of peoples and elites at a given period but also over the centuries.
Since 1950s the official Contemporary Art of museums has had time to prove itself in the present: the Western peoples are turning away en masse (70% in France in the 2000s). We will see what will be the judgment of the future about a painting that expressly claims the ugly and the absurd as a theme of aesthetic expression. It is possible to conduct a policy or to do business against the people, but one does not make an enduring art against the peoples. And we can look forward to the verdict of history on "contemporary art". History has not yet pronounced on this subject, it is too early, but we begin to read in French the opinions of art specialists who deviate from the praise ideologically and economically obliged, such as the book by Chrstine Sourgins "The Mirages of Contemporary Art: A Short History of Financial Art" at the 2005 and 2018 Round Table editions, or like Kerros' Aude's books "L'Art caché, les dissidents de contemporary art "Eyrolles 2007 and 2013 and" The imposture of Contemporary Art, a financial utopia "Eyrolles 2016. In English the article" How Modern Art Serves the Rich "by Rachel Wetzler, in the newspaper "Republic" of February 26 , 2018 is also very interesting.
The assertion that the art of an era is controlled by the beliefs active in its time is obvious to everyone, when the subject of study is Egyptian art, Greek art or the art of medieval Europe. No dispute arises. It is unanimously accepted that the art of Medieval Europe reflects the values of the Catholic religion, which conditioned all its representations, particularly in painting. The finding is considered an obvious truth without interest.
On the other hand, as soon as this key to reading and understanding art is applied to the Europe of the Reformation, then to Modern Art, and even more so to Contemporary Art of the West, strong reservations, reticence, circumspection and disputes appear. There are no more evidences, but risky and polemical, conspiracyist syntheses, one would say nowadays. The same key, which was recognized as operative, but banal, insignificant, without much interest, for the times of the distant past, is felt as aggressive, outrageous, when it is used for the present times or for the periods close to us.
Why?
A key that opens the doors to a simple but effective understanding of the art of a civilization that flourished 2500 years before our era, and still of civilizations that lasted from five centuries before our era to five centuries later , which still works during more than 1000 years for all of Europe, from 500 to 1500, must also be effective from the 17th century to the 21st century.
This key is simple and still effective, but it has become totally disturbing, and the historically correct for the general public puts it aside. This key is accepted for the distant past, and foreign civilizations, but not for the recent past and not for our present society. Historically correct indeed exists in the history of art as in the field of event history.
The man of all times has never liked having been shown to him that he lives according to beliefs, often respectable, often also very effective in practice, socially and politically, but which are completely contingent , which are very relative truths, or even just common errors, shared superstitions.
Men are willing to be shown that their ancestors, or their more or less distant neighbours, have lived or are living conditioned by a secular religion or ideology that is only a hypothetical world view. But they do not accept to apply to themselves, and in their time, this reading key. The relative, the hypothesis, the error is for past times or for others, but they live in the truth. Man has never liked it shown to him that his dreams of the world, his truths, absolute and incontestable, exist only for him, and only for his time.
That these truths do not exist at all, or little, or less, or very differently, in other places and in other times.
One of the great principles of all beliefs, sacred or profane, principle of maximum intolerance, rarely effectively fought, which is not surrealistic, but which is on the contrary quite realistic, is this: "Even if it is is true, it's false "and its corollary" Even if it's false, it's true ". It's wrong because it's not consistent with what we believe at some point in history . And the false proved, established, is still true for the same reason of conformity to the reigning ideology.
The blindness of humans to the ideologies active in their own time is an observation that can be made every day. In a report on a major television channel about present-day China the commentator said with the utmost seriousness: "The Little Red Book did not overcome superstition. The old beliefs have not completely disappeared". As if the Little Red Book, and Marxism, had not been one of the greatest superstitions of all time. One of the greatest secular religions ever invented, under the guise of a falsely scientific rationality. As if our current ideas about the world were not themselves infinitely relative beliefs: "The lights" are a accumulation of superstitions (Freedom, Equality, Fraternity, Reason, Revolution, Progress, Happiness, Democracy, Universal Republic ...), but they are currently active, they are not old, so they are "true". The superstitions that man believes in are obviously not superstitions. The superstitious are the others.
This is how the official, correct, encyclopedic discourse (Wikipedia for example) claims that Contemporary Art is independent of ideologies, that it has freed itself from doctrines such as fascism, Nazism and communism. In short, Contemporary Art is like the Statue of Liberty: an Icon of the Truth, a new Virgin, virgin from all superstition. In reality, Institutional Contemporary Art is the pure product of an ideology that should be clearly identified because it is hidden, contrary to the religious and secular ideologies that have constantly inspired European and world arts. Contemporaneity does not escape ideologies, contrary to what it claims.
This is not a popular reaction that would characterize only the illiterate. Educated people, intellectuals and ideologues are particularly subject to it. They have developed a vision of the world and they subscribe to it all the more because they invented it and it serves their interests. They do not want to admit that their conceptions of the world are relative, that it is a matter of point of view. And that it is possible to change. The immediate response is anathema, exclusion, crucifixion or pyre. Accusations for witchcraft, blasphemy, reaction, racism,conspirationnism etc ... work in exactly the same way at all times of history. The scientific spirit that the West boasts of being the land of origin, no doubt with reason, has absolutely no influence in this field. Science is constantly under the close surveillance of Ideologists, Financiers and Politics.
The "Enlightened" of our "Enlightenment" society are at least as intolerant as the believers of past times and distant civilizations. Their doctrine proclaims that everything that has lived, thought, acted before the "Enlightenment" is obsolete. They alone are the incarnation of Reason enlightening the world. They are the new "Revelation". All the others before, and all the misguided contemporaries, who do not think according to their schemas, are in the error. And it is definitive, because of course they are Modernity during even more than a thousand years, and even more, for Eternity. The "Lights" it is for longer than life itself! That's exactly what the Statue of Liberty, Masonic work, means at the entrance to New York Harbor. Any speech that tends to show that their doctrine only systematizes very contingent and very fragile truths, simple hypotheses, very relative points of view on the world, is unacceptable. Western ideologues can not admit that they are but the servants of a vision of the world among others possible, just as valid or even more. This is why the Institutional Contemporary Art is ugly, absurd and sacred. This is how the Western world ends up with Official Contemporary Art: the art of the Guidestones and the Illuminated Corporatocracy.
Institutional Contemporary Art is an anti-art, commissioned, Globalist, state and supra-state, public and private, which combines seven constants found in almost all European museums:
He is ugly, absurd, provocative, botched, sad, uprooted, obsessional, and as a result of all this, totally artificial.
An art that is said himself to be democratic and universalist but which is ultimately a state art, anti-national, anti-popular, neocolonialist who advances masked behind large proclaimed ideas that are only the superstitions of contemporary times.
Religions were about fearing and worshipping the Gods or God. Man was in the background. Today's correct thinking imposes to criticize this multi-secular vision of the world. Contemporary ideologies that have replaced religions, at least in the West, are clearly a worship of Man. This may also lead to a great deal of fear of mans. Because men with the Gods or God, it was not already the ideal, but without Gods, or God ...? It may be much worse.
When a man only believes in McDonald's or KFC, there is perhaps, without being overly pessimistic, something to worry about. Certainly, it was no better when man believed in the One Party of the Enlightened Leninists or Maoists ... Whose "classless societies" and "paradises on earth" collapsed in less than two decades after having caused a hundred million deaths, of which nobody cares anymore. But who cares about the dead? We should average our least stupid beliefs. With a little common sense and fewer beliefs maybe? Not possible. We're not ants.
I took this photograph at the Donington Park Museum in March 1996. It's the 1959 Scarab F1 car built by American Lance Reventlow and has a 4-cylinder 2,441cc engine designed for Scarab by Leo Goossen, formerly of Offenhauser. The 1974 book 'Great Racing Cars of the Donington Collection' by Doug Nye and Geoffrey Goddard says this about the car:
'The Formula 1 Scarab
Reventlow’s American Dream
In the late 1950s European-style road racing held a special fascination for a small but growing band of enthusiasts in Speedway-orientated America. Lance Reventlow – son of Barbara Hutton and heir to the Woolworth millions – was one such enthusiast, and he financed the building of some very successful Chevrolet V8-engined sports cars, which he christened ‘Scarab’, after the mystical beetle of ancient Egypt. This was in 1957, and a front-engined Formula 1 project was also initiated, using an advanced 2½ litre four-cylinder engine developed from the Offenhauser unit which had dominated Indianapolis-type racing for many years. This was to use desmodromic (mechanically-closed) valve gear and Hilborn-Travers fuel injection, and was to be laid on its side in the new chassis to provide a low bonnet line, and place the drive-line on one side of the cockpit, so allowing the driver to be low-seated. Delays with the engine and with a daring water-cooled an bladder-type braking system robbed Scarab of a chance to race before the rear-engined revolution took a hold. Reventlow had wanted his car to be an all-American GP challenger, but as 1959 passed so only one season of 2½ litre racing remained and a ‘now or never’ spirit pervaded the works at Culver City, California. So, with normal Girling disc brakes installed, the beautifully-finished Scarabs appeared at Monaco, Zandvoort, Reims and Riverside in 1960, driven by Reventlow himself and by Scarab engineer/driver Chuck Daigh. The cars made a lovely noise but made no other impression, and when the spares were all used up their season came to an end. In 1961 Daigh drove one car in British Inter-continental Formula events – a class intended to keep the old 2½ litre machinery in harness despite the unpopular change to 1½ litres for Formula 1, but after hurting himself in an accident Daigh withdrew. Scarab did build a rear-engined car, and had further plans for Intercontinental racing, but in March 1962 Reventlow regretfully announced his company’s closure. The American tax system allowed an unprofitable business to be written off for five years, and after that time the proprietor had to close down or cover losses himself. This Reventlow was no longer prepared to do, and so one American dream came to its end.'
Maître de la légende de Sainte Ursule. Bruges. fin du 15è siècle. Sainte Anne la Vierge et l'enfant, St Jean Baptiste, Saint Louis Sainte Barbe (à droite) et Sainte Catherine à gauche. Bruxelles. Musées Royaux des Beaux Arts de Belgique.
Master of the Legend of St. Ursula. Bruges. late 15th century. Sainte Anne Virgin and Child, St. John the Baptist, Saint Louis Saint Barbara (right) and St. Catherine left. Brussels. Royal Museums of Fine Arts of Belgium.
L'ART MIROIR DES VALEURS D'UNE SOCIÉTÉ (2)
"Regardez notre art, nous avons l'esthétique de notre éthique : un cri dans le désert.
Jean DUCHÉ". Le Bouclier d’Athéna. L'Occident, son histoire, son destin. 1983
"Une œuvre est reconnue comme œuvre d'art parce qu'elle a subi victorieusement l'épreuve de la critique, de l’opinion publique commune et du temps."
Mikel DUFRENNE (1910-1995 Universalis. article Œuvre d’art)
"A partir de quand avons-nous cessé de nous supporter ? La disparition de la face, de la figure humaine, en peinture et en sculpture a été le signe de cette détestation."
Jean CLAIR Considérations sur l'état des Beaux-Arts. Critique de la Modernité. NRF Essais 1983
« Si nous constatons qu’une activité aussi essentielle que la production artistique est si fondamentalement bouleversée, alors il faut bien que quelque chose de central ait été aussi atteint dans l’homme. Étrange évolution qui fait un art en même temps plongé dans le chaos, et en même temps rigide, structuré, glacé comme il ne le fut jamais»
Jacques ELLUL « L’Empire du non-sens. L’art et la société technicienne. 1980 2001 Édition l’Échappée.
« Il nous faut repartir de cette idée que l’art dévoile la société, exprime la réalité profonde du milieu dans lequel nous vivons »
Jacques ELLUL « L’Empire du non-sens. L’art et la société technicienne. 1980 2001 Édition l’Échappée.
« Repartons de l’idée simple de l’art comme miroir du milieu. Le tout est alors de se demander : reflet de quoi ? »
Jacques ELLUL « L’Empire du non-sens. L’art et la société technicienne. 1980 2021 Édition l’Échappée.
“Quand le Moyen Âge représentait la triomphe de la mort, ce n’était pas horrible, car cela se situait par rapport à la Résurrection. La Révolution ne peut pas remplir ce rôle parce qu’elle renvoie l’homme à lui-même, sans plus.”
Jacques ELLUL « L’Empire du non-sens. L’art et la société technicienne. 1980 2021 Édition l’Échappée
“Famille, culture, nation, religion : voilà les quatre valeurs cardinales ancrées dans l’homme occidental depuis des siècles, que l’oligarchie s’évertue d’affaiblir jusqu’à l’effacement, pour assurer l’émergence de l’homo globalus et sa prise de pouvoir en Occident.”
Olivier Piacentini La mondialisation totalitaire Les Editions de Paris 2018
Nos manuels d’histoire font généralement commencer les Temps Modernes à la prise de Constantinople par les Turcs en 1453 (ou à la découverte de l’Amérique en 1492)
Cette date coïncide avec une grande période artistique : la Renaissance. On était à la veille de la Réforme qui devait si fort bouleverser l’évolution des arts. Pourtant malgré tant d’importants changements il n’y eut pas alors de véritable rupture dans les traditions. L’art conservait sa place selon les mêmes conceptions, le but que poursuivaient les artistes restait dans son essence le même et personne ne songeait à le mettre en question : il s’agissait de fournir de beaux objets. L’art c’était le Beau.
Certes on disputait de la définition du Beau : imitation fidèle de la nature ? Idéalisation de la nature ?
Vers la fin du XVIII è siècle ce fonds commun semble se désagréger peu à peu. On atteint au seuil des véritables temps modernes qui commencent avec la révolution française qui allait mettre fin à quantité de croyances admises durant des siècles.
Les nouvelles conceptions artistiques tiraient leur origine du siècle des Lumières.
On remit en question la notion de style correct et celle de bon goût.
ERNST GOMBRICH Histoire de l'Art
Tout manque d’harmonie entre l’être et les choses, entre la vie et ses lois, même chez les grands hommes, ne tient pas à leur grandeur : il tient à leur faiblesse.
ROMAIN ROLLAND Vie de Michel Ange 1908
« La détresse que nous ressentons en visitant un musée d’art contemporain a un sens politique : une civilisation qui met au sommet de ses valeurs …ce non-art, ne peut que nous sembler perdue »
Benjamin OLIVENNES « l’Autre Art Contemporain » Vrais artistes et fausses valeurs. Grasset 2021
L'Art est ce que vous croyez. Et l'art vous fait croire en ce que vous croyez. L'art vous fait aussi croire en ce que vous ne croiriez pas, si vous étiez libre de croire. Et si vous ne croyez plus en rien ? Même pas en l'homme ? Seulement en vous-même, au mépris de tous les autres ? C'est l'Art Contemporain Officiel.
L'art est une expression de la manipulations des hommes par leurs élites gouvernantes, politiques et idéologiques. C'est un fait historique. Reste une question : cette manipulation est-elle bénéfique, créatrice d'une civilisation durable dans une société donnée ? Ou cet art et l'idéologie qu'il sert sont-ils stériles et conduisent-ils à la mort des sociétés auxquelles ils ont été imposées ? Il existe là aussi des exemples historiques.
L'Histoire de la peinture européenne démontre une vérité : l'Art est fondamentalement idéologique et politique. Dans la Politique Aristote a défini l'homme comme un animal politique. Et l'homme se gouverne et est gouverné par des croyances, des idéologies. L'Art est idéologique c'est à dire qu'il est le reflet, l'expression, du système de valeurs qui façonne une société donnée à une époque donnée. L'Art est politique car ce système de valeurs est toujours imposé par les puissances gouvernantes de l'époque. Ces puissances gouvernantes ne se confondent pas nécessairement avec les chefs politiques au pouvoir. Ce sont des Influences qui débordent souvent le cercle étroit des dirigeants manifestes, les politiciens.
L'art de tous les temps et dans toutes les sociétés est un moyen pour les élites d'imposer une religion (sacrée) ou une idéologie (profane, laïque). Dans toutes les civilisations l'art de chaque époque se comprend donc au travers du filtre idéologique qui inspire les élites de cette civilisation à cette époque.
L'art est donc un intéressant révélateur de la pensée philosophique et morale qui anime les élites d'une société donnée en un temps donné.
La peinture Égyptienne permet d'apercevoir les croyances de ce peuple à son époque. On y voit clairement le reflet d' une société bien équilibrée, également partagée entre un amour de la vie quotidienne, celle du peuple et celle des élites, et des espérances concernant l'au delà. Espérances qui, contrairement à ce qui a été écrit, n'étaient pas réservées au Pharaon. On y lit l'existence d'une société relativement libre, où la femme est très présente, égale de l'homme dans toutes les classes de la société. Sans entrer dans les détails, l'art des civilisations de la Mésopotamie, à la même époque, ne présente pas les mêmes caractéristiques.
L'art des lettrés chinois est un reflet des conceptions du monde taoïstes et confucianistes. Il est significatif que dans d'immenses paysages, l'homme y est toujours présenté comme une créature agissante, pensante, mais presque insignifiante. Un être parmi les Dix mille Êtres. Le commandement premier est de ne pas troubler l'harmonie de l'Univers. Il est clair aussi que cet art ne reflète pas les valeurs de la société chinoise dans son ensemble mais d'une petite minorité. Cet art n'est pas destiné aux populations, c'est un art séparé.
L'Art hindouiste exprime l'extraordinaire complexité, la profondeur, des interrogations philosophiques et religieuses qui caractérise la civilisation indienne. On y voit clairement que l'une des idées essentielles de la spiritualité hindoue est que la vérité à des visages multiples, et même apparemment contraires. La profusion des Dieux qui fait que certains esprits simples croient voir dans l'hindouisme religieux un polythéisme est le symbole de cette multiplicité des aspects de la vérité. L'homme tient dans l'univers une place éminente, mais il reste une créature parmi d'autres, au sein d'un univers complexe qui le dépasse beaucoup, dans le temps comme dans l'espace. L'idée d'une multiplicité des vérités n'est pas un appauvrissement de la pensée humaine mais un enrichissement, une compréhension essentielle, véritable car multiple. Une richesse à laquelle s'opposent tous les porteurs de prétendues vérités uniques. Du Judaïsme au Christianisme et à l'Islam. A des degrés divers, trois sommets sémitiques de l'intolérance doctrinale. L'intolérance, et son contraire la tolérance, sont très accessoirement une affaire de personnes ou de politiques conjoncturelles et locales, mais essentiellement un problème idéologique, global, culturel, politique et social.Cherchez l'Idéologue et le Politique ( le Sorcier et le Chef) qui les utilisent et vous apercevrez la source fondamentale du problème. Les idéologies sacrées ou profanes ont toutes très majoritairement pour finalité de faire triompher leur Vérité, exclusive, et donc d'éliminer la tolérance. La tolérance n'est, selon elles, qu'une hérésie. Il en est à l'évidence de même pour les différentes idéologies athées nées des Lumières rationalistes, idéologies matérialistes, marxistes, capitalistes et mondialistes comme pour les différences croyances religieuses des cultures humaines successives. Au Sorcier et au Chef il faut seulement ajouter le Marchand, qui a pris le pouvoir réel, sous-jacent, et manipule les deux premiers.
L'Art de l'Antiquité Grecque et Romaine donne l'image d'une société équilibrée mais où l'humain a pris beaucoup d'importance. L'Homme domine clairement un monde où il vit sa vie, mais cependant toujours à condition de se tenir à distance des Dieux, tout en les honorant. On n'aperçoit pas en Grèce ou à Rome, à la différence de l' Égypte, de grandes espérances métaphysiques. La Vie c'est la vie, puis la mort. Point.
L'Art, la peinture en particulier, montre que pendant Mille Cinq Cent ans (500-1500) l'Europe a construit sa société sur les fondements de la spiritualité et de la morale catholique et orthodoxe. 1500 ans cela constitue des racines. Ces racines peuvent être totalement oubliées, si l'élite le veut. Et elle le veut. Au Proche Orient absolument rien n'a subsisté, après les invasions musulmanes, d'une domination de la civilisation gréco-romaine qui avait pourtant duré, elle aussi, plus de mille ans. Mais les racines, profondes, au Proche Orient étaient sémitiques pas indo-européennes. La Grèce et Rome n'étaient qu'une greffe superficielle. Les "Maîtres du monde" occidental on décidé, depuis les "Lumières", qu'ils feraient table rase du passé catholique et orthodoxe de l'Europe, et que les valeurs que ces religions représentent seraient abolies. Depuis la seconde guerre mondiale ils sont en train de réussir pleinement. Jusqu'alors les peuples européens, surtout au sud, avaient résisté. Mais le laminoir de l'éducation publique et des médias agit efficacement. De telle sorte que ces religions ne seront bientôt pas plus vécues par les populations européennes que la religion égyptienne antique dans l’Égypte moderne. Ce n'est pas un jugement, un regret, ou une espérance, c'est un fait.
La peinture des Pays Bas du Nord, protestants, met en évidence l'existence d'une rupture très claire, et très rapide, en l'espace d'une ou deux générations, des valeurs qui animent une partie de la société européenne.
D'une part c'est la disparition des références à l'Antiquité Grecque et Romaine. La revanche de l'Europe du Nord sur celle du Sud n'est pas seulement économique, elle est culturelle.
D'autre part c'est la quasi disparition des thèmes religieux. C'est la naissance d'une peinture, profane, matérialiste, dont les thèmes sont : Le paysage, les mœurs de la vie en société, la nature morte, le portrait. La peinture du Siècle d'Or néerlandais est l' acte de naissance de la peinture que l'on appellera "Art Moderne".
Pas seulement dans le domaine du paysage, comme l'histoire universitaire de l'art le reconnaît tout à fait exactement : idéologiquement et sociologiquement tout l'Art Moderne européen, et ensuite l'art de la peinture occidentale, a pris d'autres orientations inspirées par le siècle d'Or néerlandais. Pas ou peu du point de vue du style, mais quant aux thèmes de la peinture. Ces orientations, protestantes, rationalistes, matérialistes, naturalistes, vont mettre deux siècles (1650-1850), et même un peu plus, à s'imposer dans le reste de l'Europe et ensuite en Occident. Constatons un fait : L'historiographie universitaire, celle destinée au grand public, l'histoire racontée par les Encyclopédies (Wikipédia, Universalis, Britannica, Larousse…) est une reconstruction qui fait le silence sur une des composantes absolument essentielles de l'histoire humaine : les Idéologies, ou en langage simple : les Croyances. Les doctes le savent très bien, mais ils doivent se conformer : Les idéologies (les croyances) dans l'art, et dans l'histoire événementielle, ce n'est pas un sujet convenable, "objectif". Il est impératif de les dissimuler. Dans Wikipédia l'article n'aura pas le label "vous lisez un bon article". Pourtant, c'est un fait : l'idéologie est l'angle de vue absolument incontournable pour comprendre l'histoire des hommes depuis le paléolithique jusqu'à nos jours, dans toutes les civilisations. Ce n'est pas un critère naturel à l'échelle de tous les Êtres vivants : Ce n'est pas une optique intéressante pour observer les fourmis ou les loups, qui sont cependant capables de former des sociétés très organisées. Mais les humains ont ce privilège de créer ou de détruire, plus ou moins, parfois beaucoup plus ou beaucoup moins, au nom des idéologies, au nom de leurs croyances. Au 17e siècle, aux Pays-Bas du Nord, il est indiscutable qu'un regard différent sur l'humanité s'est amorcé et même accompli, qui a construit une société remarquablement en avance sur beaucoup d'autres à la même époque. Ce regard idéologique s'est traduit en peinture. Et le résultat a été beau. Pas plus beau, beau aussi, mais mieux en convergence avec nos sensibilités actuelles en Europe et en Occident, dont cet art est l'annonce, tout en restant techniquement abouti. Ce n'est pas encore l'ère de l'art bâclé, laid, absurde et provocateur
A partir de 1815, une fois la paix revenue en Europe, et jusque vers 1950, en dates grosses et larges, c'est la période de l'Art Moderne. Dès l'époque romantique la peinture explose en une multitude de courants représentatifs de conceptions du monde et de valeurs extrêmement diverses. Globalement, et malgré les conflits très violents, l'Europe n'est pas soumise à une idéologie unique. La peinture montre cette diversité d'inspiration. Du romantisme au classicisme, du réalisme à l'expressionnisme, du symbolisme au surréalisme, du néo-raphaélisme au fauvisme, de l'art académique à l'impressionnisme, du figuratif à l'abstrait c'est une explosion de diversité, de recherches, d'innovations. Mais le passé européen n'est pas rejeté, ni moralement, ni culturellement, ni techniquement. L'Architecture montre aussi très bien cette diversité : c'est à la fois le temps de la Tour Eiffel, et l'époque de toutes les architectures historicistes : néo-grec, néo-romain, néo-byzantin, néo-roman, néo-gothique, néo-baroque. C'est surtout une époque de grande liberté artistique : l'art s'invente à la base comme au sommet de la pyramide sociale. L'élite n'est plus la seule inspiratrice de l'esthétique européenne. Pourquoi ? Parce que les élites européennes sont idéologiquement divisées. Cette division des élites va être la cause de la mort des peuples sur les champs de bataille. Mais cette division des élites va être aussi à l'origine de la diversité de l'Art Moderne.
Un chant du cygne ?
A partir de 1950 la peinture européenne change : On le constate dans nos musées d'Art Contemporain.
Les élites idéologiques occidentales ont décidé une inversion totale des valeurs qui gouvernaient l'art européen depuis 3000 ans et notamment imposé l'idée que l'art de la peinture et la sculpture ne devaient pas nécessairement être beau. Le Beau était selon les nouveaux Influents un concept dépassé.
En réalité c'est la notion même d'un art qui serait un partage d'idées et d'émotions communes entre les élites et les peuples qui est reniée avec l'Art Contemporain (l'Art Moderne II selon les dernières tendances). Cet "Art" nait aux États Unis dans les années 1920, à partir d'idées européennes et même françaises (Duchamp), et s'impose en Europe après la seconde guerre mondiale. L'art laid et absurde, provocateur jusqu'à l'abjection, faussement révolutionnaire, mais totalement académique, est un art imposé car politiquement et idéologiquement conforme.
Des questions se posent inévitablement :
Quelles valeurs de civilisation cette peinture contemporaine reflète ?
Quelles fidélités, et quelles espérances ?
Quelles beautés ?
Quelles significations, métaphysiques ou physiques, symboliques ou réalistes ?
Quelles croyances ?
Quelle vie pour aujourd'hui ou demain ?
Sauf le public des scolaires et de leurs enseignants, public contraint d'être là, les musées d'art contemporains d'Occident sont vides. Le jugement esthétique s'établit par la conjonction de l'avis des peuples et des élites à une période donnée mais aussi au cours des siècles.
Depuis 1950s l'Art Contemporain officiel des musées a eu le temps de faire ses preuves dans le présent : les peuples d'occident s'en détournent en masse. On verra bien quel sera le jugement de l'avenir à propos d'une peinture qui revendique expressément le laid et l'absurde comme thèmes d'expression esthétique. Il est possible de conduire une politique ou de faire des affaires contre les peuples, mais on ne fait pas un art durable contre les peuples.Et on peut attendre avec intérêt le verdict de l'histoire sur "l'Art Contemporain". L'histoire ne s'est pas encore prononcée à ce sujet, il est bien trop tôt, mais on commence à lire, en français, des avis de spécialistes de l'art qui s'écartent de la louange idéologiquement et économiquement obligée, comme le livre de Christine Sourgins "Les Mirages de l'Art Contemporain. Brève histoire de l'art financier" aux éditions de la Table Ronde 2005 et 2018. Ou encore comme les livres de Aude de Kerros "L'Art caché, les dissidents de l'art contemporain" Eyrolles 2007 et 2013 et "L'imposture de l'Art contemporain, une utopie financière" Eyrolles 2016. En anglais l'article "How Modern Art Serves the Rich" by Rachel Wetzler, in the Republic de February 26, 2018 est aussi très intéressant.
L'affirmation selon laquelle l'art d'une époque est commandé par les croyances actives en son temps est une évidence pour tout le monde, quand le sujet de l'étude est l'art Égyptien, l'art Grec ou l'art de l'Europe médiévale. Aucune contestation ne s'élève. Il est unanimement admis que l'art de l'Europe médiévale est le reflet des valeurs de la religion catholique, qui en a conditionné toutes les représentations notamment en peinture. Le constat est considéré comme une vérité d'évidence sans intérêt.
Par contre, dès que cette clé de lecture et de compréhension de l'art, est appliquée à l'Europe de la Réforme, puis à l'art Moderne, et encore plus à l'Art Contemporain de l'Occident, de fortes réserves, des réticences, des circonspections, des contestations apparaissent. Il n'y a plus d'évidences, mais des synthèses hasardeuses et polémiques, conspirationnistes dira-t-on de nos jours. La même clef, qui était reconnue opérante, mais banale, insignifiante, sans grand intérêt, pour les temps du passé lointain, est ressentie comme agressive, outrancière, quand elle est utilisée pour les temps actuels ou pour les périodes proches de nous.
Pourquoi?
Une clé qui ouvre les portes d'une compréhension, simple mais efficace, de l'art d'une civilisation qui s'est épanouie 2500 ans avant notre ère, et encore de civilisations ayant duré de cinq siècles avant notre ère à cinq siècles après, qui fonctionne encore pendant plus de 1000 ans pour toute l'Europe, de 500 à 1500, doit aussi être efficace du 17è siècle au 21è siècle.
Cette clef est simple et toujours efficace, mais elle est devenue totalement dérangeante, et l' historiquement correct à destination du grand public la met de côté. Cette clé est acceptée pour le passé lointain, et les civilisations étrangères, mais pas pour le passé récent et pas pour notre présente société. L' historiquement correct existe en effet dans l'histoire de l'art comme dans le domaine de l'histoire événementielle.
L'homme de tous les temps n'a jamais aimé qu'il lui soit démontré qu'il vit en fonction de croyances, souvent respectables, souvent aussi très efficaces en pratique, au plan social et politique, mais qui sont tout à fait contingentes, qui sont des vérités très relatives, ou même seulement des erreurs communes, des superstitions partagées.
Les hommes veulent bien qu'il leur soit démontré que leurs ancêtres, ou leurs voisins plus ou moins lointains, ont vécu ou vivent conditionnés par une religion ou une idéologie profane qui n'est qu'une vision du monde hypothétique. Mais ils n'acceptent pas d'appliquer à eux-mêmes, et à leur époque, cette clé de lecture. Le relatif, l'hypothèse, l'erreur, c'est pour les époques passées ou pour les autres, mais eux vivent dans la vérité. L'homme n'a jamais aimé qu'il lui soit démontré que ses rêves du monde, ses vérités, absolues et incontestables, n'existent que pour lui, et seulement pour son époque. Que ces vérités n'existent pas du tout, ou peu, ou moins, ou très différemment, dans d'autres lieux et dans d'autres temps.
Un des grands principes de toutes les croyances, sacrées ou profanes, principe d'intolérance maximale, rarement efficacement combattu, qui n'a rien de surréaliste, mais qui est au contraire tout à fait réaliste, est celui ci: "Même si c'est vrai, c'est faux" et son corollaire "Même si c'est faux, c'est vrai". C'est faux parce que ce n'est pas conforme à ce que nous croyons à un moment donné de l'histoire. Et le faux avéré, établi, est quand même vrai pour le même motif de conformité à l'idéologie régnante.
L'aveuglement des humains quant aux idéologies actives à leur propre époque est un constat qu'il est possible de faire tous les jours. Dans un reportage sur une grande chaîne de télévision à propos de la Chine actuelle le commentateur a déclaré avec le plus grand sérieux : " Le Petit Livre Rouge n'a pas eu raison des superstitions. Les vieilles croyances n'ont pas totalement disparues". Comme si le Petit Livre Rouge, et le marxisme, n'avaient pas été une des plus grandes superstitions de tous les temps. Une des plus grandes religions laïques jamais inventée, sous le couvert d'une rationalité faussement scientifique. Comme si nos idées actuelles sur le monde n'étaient pas elles-mêmes des croyances infiniment relatives :
"Les Lumières" sont une accumulation de superstitions (Liberté, Égalité, Fraternité,Raison, Révolution, Progrès, Bonheur, Démocratie, République Universelle...), mais elles sont actuellement actives, elle ne sont pas vieilles, donc elles sont "vraies". Les superstitions auxquelles l'homme croit ne sont évidemment pas des superstitions. Les superstitieux ce sont les autres.
C'est ainsi que le Discours officiel, correct, encyclopédique (Wikipédia par exemple), prétend que l'Art Contemporain est indépendant des idéologies, qu'il s'est libéré des doctrines comme le fascisme le nazisme et le communisme. Bref l'Art Contemporain est à l'image de la statue de la Liberté : une Icône de la Vérité, une nouvelle Vierge, vierge de toute superstition. En réalité l'Art Contemporain Institutionnel est le pur produit d'une idéologie qu'il convient d'identifier clairement car elle se dissimule, contrairement aux idéologies religieuses et profanes qui ont constamment inspiré les arts européens et mondiaux. La contemporanéité n'échappe pas aux idéologies contrairement à ce qu'elle affirme.
Ce n'est pas une réaction populaire qui caractériserait seulement les analphabètes. Les personnes instruites, les intellectuels et les idéologues y sont tout particulièrement soumis. Ils ont élaboré une vision du monde et ils y souscrivent d'autant plus qu'ils l'ont inventée et qu'elle sert leurs intérêts. Ils ne veulent pas admettre que leurs conceptions du monde sont relatives, que c'est une affaire de point de vue. Et qu'il est possible d'en changer. La réponse immédiate est l'anathème, l'exclusion, la crucifixion ou le bûcher. Les mises en accusation pour sorcellerie, blasphème, réaction, racisme, conspirationnisme etc...fonctionnent exactement de la même manière à toutes les époques de l'histoire. L'esprit scientifique dont l'Occident se vante d'être la terre d'origine, sans doute avec raison, n'a absolument aucune influence dans ce domaine. La Science est constamment sous la surveillance étroite des Idéologues, des Financiers et des Politiques.
Les "Éclairés" de notre société des "Lumières" sont au moins aussi intolérants que les croyants des temps passés et des civilisations lointaines. Leur doctrine proclame que tout ce qui a vécu, pensé, agi, avant "les Lumières" est obsolète. Eux seuls, sont l'incarnation de la Raison éclairant le Monde. Ils sont la nouvelle "Révélation". Tous les autres avant, et tous les contemporains égarés, qui ne pensent pas selon leurs schémas, sont dans l'Erreur. Et c'est définitif, car bien sûr ils sont la Modernité pour Mille ans, et même bien plus, pour l’Éternité. Les "Lumières" c'est pour plus longtemps que la vie même ! C'est exactement ce que signifie la Statue de la Liberté, ouvrage maçonnique, à l'entrée du port de New York. Tout discours qui tend à montrer que leur doctrine ne fait que systématiser des vérités très contingentes et très fragiles, de simples hypothèses, des points de vue très relatifs sur le monde, est inacceptable. Les Idéologues occidentaux ne peuvent admettre qu'ils ne sont que les serviteurs d' une vision du monde parmi d'autres possibles, tout aussi valables ou même plus. C'est ainsi que le monde occidental aboutit à l'Art Contemporain Officiel : l'art des Guidestones et de la Corporatocratie Illuminée. L'Art de la Nouvelle « Nef des Fous ».
L'Art Contemporain Institutionnel est un anti-art, sur commande, mondialiste, étatique et supra-étatique, public et privé, qui combine sept constantes que l'on retrouve dans presque tous les musées européens: Il est laid, absurde, provocateur, bâclé, triste, déraciné, obsessionnel, et comme conséquence de tout cela, totalement artificiel.
Un art qui se dit démocratique et universaliste mais qui n'est en définitive qu'un art d'état, anti-national, anti-populaire, néocolonialiste qui avance masqué derrière de grandes idées proclamées qui sont seulement les superstitions des temps contemporains.
Les religions c'étaient craindre et adorer les Dieux ou Dieu. L'homme était au second plan. La pensée actuellement correcte impose de critiquer cette vision multi-séculaire du monde. Les idéologies contemporaines qui ont remplacé les religions, du moins en Occident, sont clairement une adoration de l'Homme. Il se pourrait que cela conduise aussi beaucoup à craindre les hommes. Car les hommes avec les Dieux ou Dieu, ce n'était déjà pas l'idéal, mais sans Dieux, ni Dieu...? C'est peut-être bien pire.
Quand l'homme ne croit plus qu'en Mac Donald ou KFC, il y a peut-être, sans être excessivement pessimiste, du souci à se faire. Certes, ce n'était pas mieux quand l'homme croyait dans le Parti Unique des Éclairés Léninistes ou Maoïstes... Dont les "sociétés sans classe" et les "paradis sur terre" se sont effondrés en moins de deux décennies après avoir provoqué une centaine de millions de morts, dont personne ne se soucie plus. Mais qui se soucie des morts ? Il faudrait faire une moyenne entre nos croyances les moins stupides. Avec un peu de bon sens et moins de croyances peut être ? Impossible. On n'est pas des fourmis.
Il reste une évidence, l'histoire de la peinture et de l'art en général reflète fidèlement l'histoire des croyances humaines : Dieux, Dieu, l'Homme, Rien. Et Après ?
ART, MIRROR OF THE VALUES OF A SOCIETY (2)
"Look at our art, we have the aesthetics of our ethics: a cry in the desert."
Jean DUCHE. The Shield of Athena The West, its history, its destiny 1983
"A work is recognized as a work of art because it has won the test of criticism, public opinion and time."
Mikel DUFRENNE (1910-1995 Universalis. Artwork)
Our history textbooks generally start "Modern Times" with the taking of Constantinople by the Turks in 1453 (or the discovery of America in 1492)
This date coincides with a great artistic period: the Renaissance. We were on the eve of the Reformation, which was to revolutionize the evolution of the arts so much. However, despite so many important changes, there was no real break in traditions. Art retained its place according to the same conceptions, the aim pursued by the artists remained in its essence and no one thought to question it: it was to provide beautiful objects. Art was beauty.
Certainly the definition of Beautiful was disputed: faithful imitation of nature? Idealization of nature?
Towards the end of the 18th century, this common collection seemed to gradually disintegrate. We are reaching the threshold of true modern times, which began with the French revolution that would put an end to many beliefs that had been accepted for centuries.
New artistic conceptions had their origin in the Enlightenment.
The notion of correct style and good taste was questioned.
ERNST GOMBRICH Art History
Any lack of harmony between being and things, between life and its laws, even among great men, is not due to their greatness: it is due to their weakness.
ROMAIN ROLLAND Life of Michelangelo 1908
"When did we stop bearing each other? The disappearance of the face, of the human figure, in painting and sculpture is the sign of this detestation."
Jean CLAIR Considerations on the state of Fine Arts. Critique of Modernity. NRF Essays 1983
"If we see that such an essential activity as artistic production is so fundamentally changed, then something central has to have been achieved in man as well. Strange evolution that makes art at the same time immersed in chaos, and at the same time rigid, structured, frozen as it never was".
Jacques ELLUL " The Empire of Nonsense. Art and technical society. 1980 2021 Edition l'Échappée.
"We have to start from the idea that art reveals society, expresses the profound reality of the environment in which we live.
Jacques ELLUL " The Empire of Nonsense. Art and technical society. 1980 2021 Edition l'Échappée.
"Let's start from the simple idea of art as a mirror of the environment. The question then becomes: reflection of what?" ".
Jacques ELLUL " The Empire of Nonsense. Art and technical society. 1980 2021 Edition l'Échappée.
"When the Middle Ages represented the triumph of death, it was not horrible, because it was in relation to the Resurrection. The Revolution cannot fulfil this role because it sends man back to himself, without more."
Jacques ELLUL "The Empire of Nonsense. Art and the Technic Society. 1980 2021 Édition l'Échappée
“Family, culture, nation, religion: these are the four cardinal values anchored in Western man for centuries, that the oligarchy strives to weaken to the point of erasure, to ensure the emergence of homo globalus and sap rise in the West.”
Olivier Piacentini Totalitarian globalization Les Editions de Paris 2018
Art is what you believe. And art makes you believe in what you believe. Art also makes you believe in what you would not believe, if you were free to believe.What if you don't believe in anything anymore? Not even in man? Only in yourself, in defiance of all others? That's Official Contemporary Art.
Art is an expression of the manipulation of men by their governing, political and ideological elites. This is a historical fact. A question remains: is this manipulation beneficial, creating a sustainable civilization in a given society? Or are this art and the ideology it serves sterile and lead to the death of the societies on which it has been imposed? Here too there are historical examples.
The historyof European paintingshowsa truth: Artis fundamentallyideological and political.
In Politics Aristotle defined man as a political animal. And man governs himself and is governed by beliefs, ideologies. Art isideologicalieitis the reflection, the expression, of the value systemwhich shapesa societyat a given time. Art ispoliticalbecausethis system of values is alwaysimposed bythe rulingpowers of the time. Thegoverningpowersdo not necessarilyoverlap withthe political leadersin power.These areInfluencesthat oftenextend beyond thenarrow circle ofmanifestleaders, the politicians.
The art of all times and in all societies is a means for the elites to impose a (sacred) religion or an ideology (secular, secular). In all civilizations the art of each era is understood through the ideological filter that inspires the elites of this civilization at that time. Art is therefore an interesting revealer of the philosophical and moral thought that inspires the elites of a given society in a given time. These religions or ideologies can differ a lot as to the benefit that peoples will or will not withdraw. Some are conducive to the establishment of long-term civilizations (ancient Egypt, Greek-Roman antiquity, Christianity, Hinduism, Buddhism, Islam ...) others are more or less rapidly mortal (Aztec and Inca religions, Communism, national Socialism).
Indeed, certain ideologies, sacred or secular, conceived by the elites, have been, more or less short term, accepted and totally shared by the peoples who adhered to it without reluctance. They can then impose themselves completely without hurting the feelings and freedoms of the people, or at least a largely significant majority, even unanimity within their society for a long period of time.
Other ideologies, on the other hand, have been imposed by the elites, but did not generate the membership unanimous or majority of peoples that came into resistance, passive or active with more or less success after a shorter or longer period.
It is possible to encounter a different situation in the history of the world: those of ideologies, sacred or secular, often of foreign origin which have been adopted, or would have been adopted by peoples, but were fought by the elites ideological and political of the country.
The Egyptian paint allows to see the beliefs of the people in his time. It clearly shows the reflection of a well-balanced society, also shared a love of everyday life, that of the people and the elite, and the Hopes for the afterlife. Expectations that, contrary to what was written, were not reserved for the Pharaoh. We read the existence of a relatively free society, where women are very present, equal to men in all classes of society. Without going into details, the art of the civilizations of Mesopotamia, at the same time, does not have the same characteristics.
The art of the Chinese literati is a reflection of the Taoist and Confucian concepts of the world. It is significant that in immense landscapes, the human is always presented as an creature, acting, thinking, but almost insignificant. A Being among the ten thousand Beings. The first commandment is not to disturb the harmony of the universe. It is also clear that this art does not reflect the values of Chinese society as a whole, but a small minority.
Hindu Art expresses the extraordinary complexity, the depth of philosophical and religious questions that characterize Indian civilization. It is clear that one of the essential ideas of Hindu spirituality is that the truth has multiple faces, and even apparently opposite ones. The profusion of Gods, which makes certain simple minds believe that religious Hinduism is a polytheism, is the symbol of this multiplicity of aspects of truth. Man holds an eminent place in the universe, but he remains a creature among others, in a complex universe that is far beyond him, both in time and The idea of a multiplicity of truths is not an impoverishment of human thought but an enrichment, an essential understanding, true because multiple. A wealth to which all bearers of so-called unique truths are opposed. From Judaism to Christianity and Islam. To varying degrees, degrees that are not anecdotal, three Semitic summits of doctrinal intolerance. Intolerance, and its opposite, tolerance, are very incidentally a matter of persons or of conjunctural and local politics, but essentially an ideological, global, cultural, political and social problem. Look for the Ideologist and the Politician (the Sorcerer and the Leader) who use them and you will see the fundamental source of the problem. Sacred or profane ideologies all have as their goal the triumph of their Truth, exclusive, and therefore the elimination of tolerance. Tolerance is, according to them, nothing but heresy. The same is obviously true for the different atheist ideologies born of the rationalist Enlightenment, materialist, Marxist, capitalist and mundialist ideologies, as well as for the different religious beliefs of successive human cultures. To the Sorcerer and the Chief we only have to add the Merchant, who has taken the real, underlying power and manipulates the first two.
The Art of Greek and Roman Antiquity gives the image of a balanced society but where the human being has taken on a lot of importance. Man clearly dominates a world where he lives his life, but always on condition of keeping distance from the Gods, while honoring them. One does not perceive in Greece or in Rome, unlike in Egypt, great metaphysical hopes. Life is life, then death. Point.
Art, the painting in particular, shows that during Thousand Five Hundred Years (500-1500) Europe has built his society on the foundations of spirituality and morality Catholic and Orthodox. 1500 years this is roots. These roots can be completely forgotten, if the elite wants. And she wants. In the Middle East absolutely nothing has remained, after the Muslim invasions, of domination of the Greco-Roman civilization, although it had lasted, too, over a thousand years. But deep roots in the Middle East, were Semitic. They where not Indo-European. Greece and Rome were only a superficial graft. The "masters of the Western world" have decided, since the "Enlightenment", that they would make a clean sweep of the catholic and orthodox past of Europe, and that the values that these religions represent would be abolished. Since the second world war they are succeeding fully. Until then the European peoples, especially in the south, had resisted. But the rolling mill of public education and media acts effectively. In such a way that these religions will soon be no more lived by the European populations than the ancient Egyptian religion in modern Egypt.It is not a judgment, a regret, or a hope, it is a fact.
The painting of the Netherlands Northern, Protestant, reveals the existence of a very clear rupture, and very fast, within one or two generation, of the values that animate a part of European society.
On the one hand it is the disappearance of references to ancient Greek and Roman. Revenge of northern Europe on the South is not only economic, it is cultural.
On the other hand it is the virtual disappearance of religious themes. This is the birth of a painting, secular, materialist, whose themes are: landscape, customs of social life, still life, portrait. The painting of the Dutch Golden Age is the birth of painting which will be called "Modern Art".
Not only in the field of landscape, as the university history, of art recognizes quite exactly: ideologically and sociologically all European Modern Art, and later the art of Western painting, took other directions inspired by the Dutch Golden Century. Not or little from the point of view of style, but as far as the themes of painting are concerned. These orientations, Protestant, rationalist, materialist, naturalist, will take two centuries (1650-1850), and even a little more, to impose themselves in the rest of Europe and then in the West. Let us note a fact: University historiography, that intended for the general public, the history told by the Encyclopaedias (Wikipedia, Universalis, Britannica, Larousse...) is a reconstruction that silences one of the absolutely essential components of human history: the Ideologies, or in simple language: the Beliefs. Doctricians know it very well, but they must conform: Ideologies (Beliefs) in art, and in event history, is not a suitable, "objective" subject. It is imperative to conceal them. In Wikipedia the article will not have the label "you read a good article". However, it is a fact: ideology is the absolutely unavoidable angle of view to understand the history of mankind from the Paleolithic to the present day, in all civilizations. It is not a natural criterion on the scale of all living beings: It's not an interesting viewpoint for observing ants or wolves, who are, however, capable of forming highly organized societies. But humans have this privilege to create or destroy, more or less, sometimes much more or much less, in the name of ideologies, in the name of their beliefs. In the 17th century, in the Northern Netherlands, it is indisputable that a different view of humanity was initiated and even accomplished, which built a society that was remarkably ahead of many others at the same time. This ideological outlook was translated into painting. And the result was beautiful. Not more beautiful, beautiful too, but better in convergence with our current sensitivities in Europe and in the West, of which this art is the advertisement, while remaining technically accomplished. This is not yet the era of botched, ugly, absurd and provocative art
Since 1815, when peace returned to Europe, and until about 1950, in large and wide dates, it is the period of Modern Art. Since the romantic era, the painting explodes in a multitude of currents, representative of worldviews and values, extremely diverse. Overall, and despite the very violent conflicts, Europe is not subject to a single ideology. The painting shows the diversity of inspiration. From romanticism to classicism, from realism to expressionism, from symbolism to surrealism, from raphaélisme to fauvisme, from academic art to impressionism, from figurative to abstract, it is an explosion of diversity, research and innovations.
But the European past is not rejected, neither morally or culturally or technically. The architecture also shows very well this diversity: it is both the time of the Eiffel Tower, and times of all historicist architectures: Greek Revival, neo-Roman, neo-Byzantine, Romanesque, neo-Gothic, neo-Baroque.
It is especially a time of great artistic freedom: art is invented at the base as at the top of the social pyramid. The elite is no longer the only inspirer of European aesthetics. Why ? Because the European elites are ideologically divided. This division of the elites is going to be the cause of the death of the peoples on the battlefields. But this division of the elites will also be at the origin of the diversity of Modern Art.
A swan song?
After 1950 European painting changed: This can be seen in our museums of Contemporary Art.
The Western elites have decided a total reversal of the values that have governed European art for 3000 years and imposed the idea that the art of painting and sculpture need not necessarily be beautiful. Beauty was, according to the new Influents, an outdated concept. In reality it is the very notion of an art that would be a sharing of ideas and common emotions between elites and peoples that is denied with Contemporary Art (Modern Art II according to the latest trends). This "Art" was born in the United States in the 1920s, from European and even French ideas (Duchamp), and was imposed in Europe after the Second World War. The ugly and absurd art, provocative until abjection , falsely revolutionary, but totally academic art is an imposed art because politically and ideologically compliant.
Various questions inevitably arise:
What values of civilization reflects this contemporary painting ?
What loyalties, and what hopes?
What beauty?
What meanings, metaphysical or physical, symbolic or realistic?
What beliefs?
What a life for today or tomorrow?
Except the public of the school and their teachers, public forced to be there, the contemporary art museums of the West are empty. The aesthetic judgment is established by the conjunction of the opinion of peoples and elites at a given period but also over the centuries.
Since 1950s the official Contemporary Art of museums has had time to prove itself in the present: the Western peoples are turning away en masse (70% in France in the 2000s). We will see what will be the judgment of the future about a painting that expressly claims the ugly and the absurd as a theme of aesthetic expression.It is possible to conduct a policy or to do business against the people, but one does not make an enduring art against the peoples. And we can look forward to the verdict of history on "contemporary art". History has not yet pronounced on this subject, it is too early, but we begin to read in French the opinions of art specialists who deviate from the praise ideologically and economically obliged, such as the book by Chrstine Sourgins "The Mirages of Contemporary Art: A Short History of Financial Art" at the 2005 and 2018 Round Table editions, or like Kerros' Aude's books "L'Art caché, les dissidents de contemporary art "Eyrolles 2007 and 2013 and" The imposture of Contemporary Art, a financial utopia "Eyrolles 2016. In English the article" How Modern Art Serves the Rich "by Rachel Wetzler, in the newspaper "Republic" of February 26 , 2018 is also very interesting.
The assertion that the art of an era is controlled by the beliefs active in its time is obvious to everyone, when the subject of study is Egyptian art, Greek art or the art of medieval Europe. No dispute arises. It is unanimously accepted that the art of Medieval Europe reflects the values of the Catholic religion, which conditioned all its representations, particularly in painting. The finding is considered an obvious truth without interest.
On the other hand, as soon as this key to reading and understanding art is applied to the Europe of the Reformation, then to Modern Art, and even more so to Contemporary Art of the West, strong reservations, reticence, circumspection and disputes appear. There are no more evidences, but risky and polemical, conspiracyist syntheses, one would say nowadays. The same key, which was recognized as operative, but banal, insignificant, without much interest, for the times of the distant past, is felt as aggressive, outrageous, when it is used for the present times or for the periods close to us.
Why?
A key that opens the doors to a simple but effective understanding of the art of a civilization that flourished 2500 years before our era, and still of civilizations that lasted from five centuries before our era to five centuries later , which still works during more than 1000 years for all of Europe, from 500 to 1500, must also be effective from the 17th century to the 21st century.
This key is simple and still effective, but it has become totally disturbing, and the historically correct for the general public puts it aside. This key is accepted for the distant past, and foreign civilizations, but not for the recent past and not for our present society. Historically correct indeed exists in the history of art as in the field of event history.
The man of all times has never liked having been shown to him that he lives according to beliefs, often respectable, often also very effective in practice, socially and politically, but which are completely contingent , which are very relative truths, or even just common errors, shared superstitions.
Men are willing to be shown that their ancestors, or their more or less distant neighbours, have lived or are living conditioned by a secular religion or ideology that is only a hypothetical world view. But they do not accept to apply to themselves, and in their time, this reading key. The relative, the hypothesis, the error is for past times or for others, but they live in the truth. Man has never liked it shown to him that his dreams of the world, his truths, absolute and incontestable, exist only for him, and only for his time.
That these truths do not exist at all, or little, or less, or very differently, in other places and in other times.
One of the great principles of all beliefs, sacred or profane, principle of maximum intolerance, rarely effectively fought, which is not surrealistic, but which is on the contrary quite realistic, is this: "Even if it is is true, it's false "and its corollary" Even if it's false, it's true ". It's wrong because it's not consistent with what we believe at some point in history . And the false proved, established, is still true for the same reason of conformity to the reigning ideology.
The blindness of humans to the ideologies active in their own time is an observation that can be made every day. In a report on a major television channel about present-day China the commentator said with the utmost seriousness: "The Little Red Book did not overcome superstition. The old beliefs have not completely disappeared". As if the Little Red Book, and Marxism, had not been one of the greatest superstitions of all time. One of the greatest secular religions ever invented, under the guise of a falsely scientific rationality. As if our current ideas about the world were not themselves infinitely relative beliefs: "The lights" are a accumulation of superstitions (Freedom, Equality, Fraternity, Reason, Revolution, Progress, Happiness, Democracy, Universal Republic ...), but they are currently active, they are not old, so they are "true". The superstitions that man believes in are obviously not superstitions.The superstitious are the others.
This is how the official, correct, encyclopedic discourse (Wikipedia for example) claims that Contemporary Art is independent of ideologies, that it has freed itself from doctrines such as fascism, Nazism and communism. In short, Contemporary Art is like the Statue of Liberty: an Icon of the Truth, a new Virgin, virgin from all superstition. In reality, Institutional Contemporary Art is the pure product of an ideology that should be clearly identified because it is hidden, contrary to the religious and secular ideologies that have constantly inspired European and world arts. Contemporaneity does not escape ideologies, contrary to what it claims.
This is not a popular reaction that would characterize only the illiterate. Educated people, intellectuals and ideologues are particularly subject to it. They have developed a vision of the world and they subscribe to it all the more because they invented it and it serves their interests. They do not want to admit that their conceptions of the world are relative, that it is a matter of point of view. And that it is possible to change. The immediate response is anathema, exclusion, crucifixion or pyre. Accusations for witchcraft, blasphemy, reaction, racism,conspirationnism etc ... work in exactly the same way at all times of history. The scientific spirit that the West boasts of being the land of origin, no doubt with reason, has absolutely no influence in this field.Science is constantly under the close surveillance of Ideologists, Financiers and Politics.
The "Enlightened" of our "Enlightenment" society are at least as intolerant as the believers of past times and distant civilizations. Their doctrine proclaims that everything that has lived, thought, acted before the "Enlightenment" is obsolete. They alone are the incarnation of Reason enlightening the world. They are the new "Revelation". All the others before, and all the misguided contemporaries, who do not think according to their schemas, are in the error. And it is definitive, because of course they are Modernity during even more than a thousand years, and even more, for Eternity. The "Lights" it is for longer than life itself! That's exactly what the Statue of Liberty, Masonic work, means at the entrance to New York Harbor. Any speech that tends to show that their doctrine only systematizes very contingent and very fragile truths, simple hypotheses, very relative points of view on the world, is unacceptable. Western ideologues can not admit that they are but the servants of a vision of the world among others possible, just as valid or even more. This is why the Institutional Contemporary Art is ugly, absurd and sacred.This is how the Western world ends up with Official Contemporary Art: the art of the Guidestones and the Illuminated Corporatocracy. The Art of the New "Ship of Fools".
Institutional Contemporary Art is an anti-art, commissioned, Globalist, state and supra-state, public and private, which combines seven constants found in almost all European museums:
He is ugly, absurd, provocative, botched, sad, uprooted, obsessional, and as a result of all this, totally artificial.
An art that is said himself to be democratic and universalist but which is ultimately a state art, anti-national, anti-popular, neocolonialist who advances masked behind large proclaimed ideas that are only the superstitions of contemporary times.
Religions were about fearing and worshipping the Gods or God. Man was in the background. Today's correct thinking imposes to criticize this multi-secular vision of the world. Contemporary ideologies that have replaced religions, at least in the West, are clearly a worship of Man. This may also lead to a great deal of fear of mans. Because men with the Gods or God, it was not already the ideal, but without Gods, or God ...? It may be much worse.
When a man only believes in McDonald's or KFC, there is perhaps, without being overly pessimistic, something to worry about. Certainly, it was no better when man believed in the One Party of the Enlightened Leninists or Maoists ... Whose "classless societies" and "paradises on earth" collapsed in less than two decades after having caused a hundred million deaths, of which nobody cares anymore. But who cares about the dead? We should average our least stupid beliefs. With a little common sense and fewer beliefs maybe? Not possible. We're not ants.
It remains obvious, the history of painting and of art in general faithfully reflects the history of human beliefs: Gods, God, Man, Nothing. And after ?
This memorial is located in Chester Cathedral
HMS CHESTER ROLL OF HONOUR
THE BATTLE OF JUTLAND MAY 31st 1916
Cyril Ambrose WALTON, MA, Chaplain Royal Navy died aged 39. Son of Thomas Isaak and Barbara Walton, of Ickleford Rectory, Herts; husband of May Walton, of The School House, Old Town, Clapham, London. M.A. Commemorated on the Chatham Naval Memorial, Kent
George Henry Walker WILLIAMSON. Mentioned in Despatches. Lieutenant, Royal Navy Reserve died aged 27. Son of George and Mary Jane Elizabeth Clark Williamson, of 40, St. Andrew's Road., Southsea, Hampshire. Born at Barragully, Murree Hills, Punjaub, India. Commemorated on the Chatham Naval Memorial, Kent
George SPILLETT. Petty Officer 1st Class 158579 Royal Navy. Born 21 October 1875 at Faversham, Kent enlisted 31 January 1891 on HMS Wildfire, died aged 25 Son of Benjamin Reuben and Lydia Spillet nee Millen. In 1881 he was living with his parents and siblings at Prince of Wales Inn, 14 Conduit Street, Faversham, Kent. 1911 living with wife Emma and daughter Georgina aged 2 years at 72 Gardiner Street, Gillingham, Kent. Commemorated on the Chatham Naval Memorial, Kent
Edward George ARTER. Leading Seaman, (formerly Petty Officer 1st Class to 2nd June 1915) 185328 Royal Navy died aged 36, Born 25 May 1880 at Dunton, Norfolk to Noah and Mary Ann Arter, of Dunton, Norfolk; husband of Alice Maud Mary Arter, of 22, Mariners Street, Lowestoft, Suffolk. Enlisted 17 August 1895 on HMS Boscawen, occupation prior to enlistment, messenger. Commemorated on the Chatham Naval Memorial, Kent
John William FURBY. Ordinary Seaman J/50936 Royal Navy died aged 21. Born 12 March 1895 at Dalston, London to John William and Louisa Maria Furby, nee Songhurst of 47, Baxter Road , Essex Road , Islington, London. He enlisted 24 February 1916 on HMS Pembroke I, occupation prior to enlistment plumbers mate. In 1911 he was living with his parents and siblings at the above address and was a plumbers labourer.
Commemorated on the Chatham Naval Memorial, Kent
John WELLS. Ordinary Seaman J/51633 Royal Navy died aged 28. Born 27 April 1886 at Petersfield, Hampshire to Mr. and Mrs. H. Wells, of Heston, Hounslow; husband of Florence Elizabeth Wells, of 18, Hounslow Road, Whitton. Twickenham, Middlesex. He enlisted 13 March 1916 on HMS Pembroke I, occupation prior to enlistment, market gardener. Commemorated on the Chatham Naval Memorial, Kent
John Henry YELLOLY. Ordinary Seaman SS/7076 Royal Navy died aged 18. Born 7 February 1898 at Lambeth, London, enlisted 13 March 1916 on HMS Pembroke I. occupation. Occupation prior to enlistment plumbers mate. Son of Thomas and Louisa Yelloly nee Grist. In 1911 he was living with his parents and siblings at 45 Wake Street, Lambeth Walk, Lambeth. His mother was notified of his death and she was living at 38 St Albans Street, Kennington, London SE. Commemorated on the Chatham Naval Memorial, Kent
Sidney WISE. Ordinary Seaman J/51143 Royal Navy died aged 19. Born 19 August 1896 at Orford, Kent to Charles and Rose Wise, of 6, Willow Terrace, Otford, Sevenoaks, Kent. He enlisted 7 March 1916 on HMS Pembroke I, occupation prior to enlistment, railway porter. Commemorated on the Chatham Naval Memorial, Kent
John Nicol KIRKPATRICK. Ordinary Seaman CH/J49613 Royal Navy on HMS Chester died of wounds 1 June 1916. Born 8 September 1892 at Glasgow enlisted 31 May 1916 on HMS Pembroke I occupation prior to enlistment, motor cycle repairer. Son of Robert Marshall and Alice Ann Kirkpatrick, nee Haw. In 1911 he was living with his parents and siblings at 445 High Road, Ilford, occupation, and apprentice cycle maker. Commemorated on a Screen Wall in Buckingham Road Cemetery, Ilford, Essex.
James David WAGHORN. Ordinary Seaman J/51712 Royal Navy died aged 24. Born 2 December 1892 at Grevesend, Kent to James and Alice Florence Waghorn, of 4, Kent Cottages, Chalk, Gravesend. He enlisted 14 March 1916 on HMS Pembroke I, occupation prior to enlistment, milk man. Commemorated on the Chatham Naval Memorial, Kent
William Henry ROY. Chief Yeoman of Signals 185294 Royal Navy died aged 38. Born 25 March 1879 at Clerkenwell, London enlisted 2 August 1895 on HMS Boscawen as Boy 2nd Class. Occupation prior to enlistment, steward. Son of William and Georgina Mary Roy, nee Hall. Husband of Eleanor Caroline Roy, of 53, Bramshott Road, Southsea, Portsmouth. Commemorated on the Portsmouth Naval Memorial, Hampshire.
James Vincent OLDERSHAW. Yeoman of Signals 228506 Royal Navy died aged 28. Born 21 March 1888 at Aldershot, Hampshire to James Henry and Louisa Elizabeth Oldershaw, nee Trow. Husband of Florence Beatrice Oldershaw, nee Banks of 4, Best Street, Chatham. He enlisted 30 October 1903 on HMS Ganges, occupation prior to enlistment, painters boy. Commemorated on the Chatham Naval Memorial, Kent
George LISTER. Yeoman of Signals 227230 Royal Navy died aged 28. Born 5 April 1888 in Lincoln, enlisted 5 April 1906 on HMS Ganges. Occupation prior to enlistment, farm hand. Son of William and Ellen Sophia Lister nee Thompson. In 1901 he was living with his parents and siblings on the family farm at Torskey Lincolnshire. Commemorated on the Chatham Naval Memorial, Kent
George Ernest DINN. Leading Signalman 214901. Royal Navy. Died of wounds 11th June 1916. His last ship was HMS Pembroke with rank of Leading Signalman. Born 18 March 1886 at Swerford, Oxfordshire, enlisted 22 January 1901 on HMS Impregnable. Occupation prior to enlistment, Hall Boy. Son of Joseph Edward and Lucy Sarah Dinn, nee Buck. In 1891 he was living with his parents and siblings in part of mixed school of Swerford, parents, school teachers. At the time of his death his mother was living at 13 Anne Street, Creswell, nr Mansfield, Nottinghamshire. At rest in All Souls Cemetery, Kensal, London. N.B. No other 'Dinn' in the Royal Navy
Frederick George McKENZIE. Signalman J/7577 Royal Navy died aged 23. Born 21 December 1893 at Woolwich, Kent enlisted 18 May 1910 on HMS Impregnable. Occupation prior to enlistment, shop assistant. Commemorated on the Chatham Naval Memorial, Kent
Harry FOSKER. Sailmaker's Mate 233918 Royal Navy died aged 27. Born 4 December 1888 at Northfleet, Kent to Fredrick and Caroline Fosker, nee Horscroft of 10, Gordon Road, Rosherville, Northfleet, Kent. He enlisted 20 May 1905 on HMS Impregnable, occupation prior to enlistment, errand boy. Commemorated on the Chatham Naval Memorial, Kent
William Hide COOPER. Ship's Corporal 1st Class 225272 Royal Navy died aged 28. Son of Charles and Mary Cooper, of Blue Cottage, Leybourne, West Malling, Kent. Native of Kimpton, Hertfordshire. Commemorated on the Chatham Naval Memorial, Kent
Percy Frank BLAKE. Officer's Steward 3rd Class L/5680 Royal Navy. Born 14 August 1895 at Highgate London. Enlisted 30 Sepetember 1914 on HMS Pembroke I. Occupation prior to enlistment, pawnbrokers assistant. Son of Frank and Mary Ann Blake nee Parker. In 1901 he was living with his parents and siblings at 70 Beversbrook Road, Tufnell Park, North Holloway. Occupation, assistant in a tailor shop. Commemorated on the Chatham Naval Memorial, Kent
Raymond William THORP. Bugler CH/18245, Royal Marine Light Infantry died aged 17. Son of Abraham and Jane Thorp, of 214, Elmhurst Mansions, Manor Street, Clapham, London. Commemorated on the Chatham Naval Memorial, Kent
Albert Henry TUCKER. Private CH/17433, Royal Marine Light Infantry died aged 21. Son of Henry and M. K. Tucker, of 19, Senior Street, Harrow Road, Paddington, London. Commemorated on the Chatham Naval Memorial, Kent
Thomas PRESTON. Private CH/20048, Royal Marine Light Infantry died aged 18 Son of Charles and Sarah Preston, of Wreningham, Norwich. Commemorated on the Chatham Naval Memorial, Kent
John Porter GIBBS. Private CH/16102 Royal Marine Light Infantry died aged 27. Husband of Kate Gibbs, of Chart Road , Chart Sutton, Maidstone, Kent. Native of Burton-on-Trent, Stafffordshire
William SMITH. Private CH/14230, Royal Marine Light Infantry died aged 34. Son of Charles and Harriet Smith, of London, husband of Annie J. E. Smith, of 304, Kentish Town Road, London. Commemorated on the Chatham Naval Memorial, Kent
Edward FASSNIDGE, Private CH/20012 Royal Marine Light Infantry He died fighting bravely at his gun aged 19. Formerly served with the Isle of Wight Rifles prior to joining the marines. Born 7 January 1897 at High Wycombe, Buckinghamshire. Son of Harry Charles and Rhoda Fassnidge, nee Hawes. At the time of his death his widowed mother was residing at High Street, Lane End, High Wycombe Commemorated on the Chatham Naval Memorial, Kent.
James Martin William GRIMLEY. Private CH/18024, Royal Marine Light Infantry. Born 31 March 1896 at St Baranbas, Worcester, enlisted 12 July 1913 and died aged 20. Son of Elizabeth of 2 Green Hill, Bath Road, formerly of 25 Lansdowne Street both in Worcester.
Extract from record on Ancestry.
Enlisted 12/7/1913Chatham Bn. at Ostend, Dunkirk & Defence of Antwerp 1914 ; RM Brigade 12/9/14-16/12/15 ; 3/12/14 Granted Hurt Cert. for wound to right upper Arm ; MEF 6/2/15-about 30/4/15 Bullet wound finger right hand, rejoined Chatham Bn. 24/6/15-20/10/15 Dysentery, Invalided to UK 25/11/15 ; Embarked HMS "Chester" 2/5/16-31/5/16 DD. Commemorated on the Chatham Naval Memorial, Kent
William John PATTERSON. Private PO/10319, Royal Marine Light Infantry. Born 1st September 1880 at Woolwich, London. Brother to Mrs Anariotte Longram, The Common, Fareham, Hampshire. Commemorated on the Portsmouth Naval Memorial, Hampshire.
Albert Ernest CHOWNS. Boy 1st Class J/42519 Royal Navy died aged 16. Son of Richard and Annie Kezia Chowns, of 3, Windsor Gardens, Harrow Road, Paddington, London. Born 12 September 1899 at Paddington, London, enlisted 21 July 1915 on HMS Vivid I. Occupation prior to enlistment , factory hand. Commemorated on the Plymouth Naval Memorial, Devon
Robert John ASHTON. Boy 1st Class J/41852 Royal Navy died aged 16. Born 18 January 1900 at Kensington, London, enlisted 22 January 1915 on HMS Vivid I. Occupation prior to enlistment, junior clerk. Son of William and Margaret Jane Ashton, nee Pratt of 6 Testerton Street, Kensington. Commemorated on the Plymouth Naval Memorial, Devon.
John Travers CORNWELL. V C, Mentioned in Despatches. Boy 1st Class J/42563 died of his injuries 2 June 1916 aged 16. Son Eli and Alice nee Carpenter Cornwell, of 10, Alverstone Rd., Manor Park, Essex, and the late Lily Cornwell(nee King), of 745, Commercial Road, Stepney, London. Born Leyton,West Ham. Commemorated on the Chatham Naval Memorial, Kent
His father, Private 15823 Eli Cornwell. 57th Protection Coy Royal Defence Corps died 25 October 1916 aged 64. Both rest together in Manor Park Cemetery, Essex
His half brother Private 495333 Arthur Frederick Cornwell. 13th Kensington Battalion, London Regiment killed in action 29 August 1918 aged 30. Husband of May Elizabeth Cornwell, of 60, Stafford Road , Forest Gate, Essex. His father Pte E Cornwell and half brother, Boy 1st Class John Travers Cornwell VC, also died. At rest in H.A.C. Cemetery, Ecoust-St. Mein, France.
Reginald Alfred RAVEN. Boy 1st Class J43463 Royal Navy. Born 9 February 1899 at Woodford, Essex, enlisted 7 August 1915, occupation prior to enlistment, barmans assistant. Son of Alfred and Emily Hannah Raven, nee Hoare. Commemorated on the Plymouth Naval Memorial, Devon.
James Fred LACEY. Boy 1st Class. J43496 Royal Navy died aged 16. Born 6 January 1900 at Chislehurst Kent enlisted 17 August 1915. Occupation prior to enlistment, gardeners boy.Only son of James Fred and Agnes Mary Lacey, of 13, Bridgeway, Lyon Park, Wembley. At rest in Wembley Old Burial Ground, Middlesex.
Edward Thomas PEARCE. Boy 1st Class DEV/143571 Royal Navy died aged 17. Son of Charles John and Edith Emily Pearce, of 9, Clarence Gardens, Osnaburgh Street, Regent's Park, London. Born at Westminster. At rest in Hendon Cemetery and Crematorium, Middlesex.
Percy LAWLESS. Mentioned in Despatches. Able Seaman 204601 Royal Fleet Reserve, Royal Navy died aged 33. Born 7 January 1883 at Canterbury, Kent enlisted 8 May 1899 on HMS St Vincent. Occupation prior to enlistment, footman. Son of Tom and Carry Lawless, of Canterbury, husband of Charlotte Victoria Lawless, nee Beckett of 21, Jackson Street, Woolwich Common, London. Commemorated on the Chatham Naval Memorial, Kent.
John Henry LUXTON. Able Seaman, Mersey 4/35 Royal Naval (VR) died aged 28. Born 2 February 1889 to Henry George and Margaret Anne Luxton, nee Williams of 3 Brook Square Birkenhead, husband of Hannah Luxton, of 68, Beckwith Street, Birkenhead. Commemorated on the Plymouth Naval Memorial, Devon.
ROSCO GORDON By Steve Walker
Born 10 April 1928, Memphis, Tennessee (also given as 23 Dec, 1933 and 10 April, 1934)
Died 11 July 2002, Queens, New York City
A native of Memphis, Tennessee, Rosco Gordon was the youngest of a family which contained six elder sisters and one elder brother. His father, Rosco the first, was a labourer at a lumber mill, right behind their home at 1654 Florida Street (about a 30 minute bus ride from Beale Street). It was his mother, Adele's old piano that provided the initial catalyst: "I would go and play it every day. It became a thing with me. I never idolised any other musicians. I never tried to copy after anyone else. Never in my life. I have no favourite musicians. Favourite music, yes, but not musicians. I am my favourite musician."
After attending Florida Street School in South Memphis, Rosco formed his own band as a teenager and they played most nights of the week. With Ray Jones on alto sax and Man Son or Murry Daley on drums, Rosco played piano and sang, performing a repertoire that included a number of his own compositions. After performing at the Palace Theater on Beale Street, where they won first prize in a talent contest, Rufus Thomas invited the boys onto Radio WDIA in 1950. Soon Gordon was working with the likes of Johnny Ace, Earl Forest, B.B. King and Bobby "Blue" Bland as part of the Beale Streeters.
Rosco first came to 706 Union in early 1951, recording sides that were leased to RPM. The Bihari's Modern/RPM set-up considered that they had Rosco under contract. However, politics dictated that Sam Phillips sent a dub of "Booted" to the Chess brothers in Chicago and they duly released it on Chess 1487. A legal wrangle ensued, and the Biharis had Rosco recut "Booted", which they issued in competition to the Chess release. Despite competing with himself, Rosco achieved a #1 R&B hit with "Booted".
In December, 1951, Rosco cut a session that was destined for Chess, but the masters were held over until the legal dispute between Chess and the Biharis was resolved, and eventually the titles were offered to RPM. The outcome was that Rosco went to RPM and Chess got Howlin' Wolf. Meantime, Chess were offered "Letter From A Trench In Korea" by Bobby Bland singing with Rosco's band behind him, one way of by-passing the legal impasse. A further session cut in January, 1952 was again destined for Chess but was held over, and "Decorate The Counter" and "I Wade Through Muddy Water" remained in the vaults for a couple of decades.
Despite signing with RPM, Rosco was having a lot of trouble collecting his due royalties. He aired his grievances to WDIA programme director David James Mattis who was inspired to form his own label. Along with Bill Fitzgerald, he formed the Tri-State Recording Company and decided upon Duke as the name for his label, inspired by the likes of King and Queen. Mattis recorded Gordon on "Hey Fat Girl" which was issued on Duke R-1, a release number that was later amended to R-101. Duke Records was soon taken over by the Houston-based Don Robey, owner of Peacock Records. Rosco continued recording for both RPM and Duke with scant regard to contracts, until more legal action by the Biharis again established their claim to the artist. Meanwhile, Joe Bihari moved to Memphis with Ike Turner and set up recording studios at Radio WMCA as well as at Tuff Green's house. Amongst the recordings cut by Gordon at Tuff Green's house was "No More Doggin'", which resulted in a #3 R&B hit.
The bewildering convolutions of Rosco's early career are sometimes hard to follow. Suffice to say that with the exception of "No More Doggin'"/"Maria", all his RPM releases were cut at 706 Union, as well as some of his Duke singles. In theory, Gordon was with RPM though until 1953, albeit he also had five singles out on Duke and one on Chess during the same period! He signed with Duke when his RPM contract expired and recorded exclusively for Don Robey for a couple of years, recording his material in Houston.
Here is Gordon on Robey: "The man was an outlaw. He was bad. Used to carry a gun all the time. You know, he put Little Richard in the hospital. He threatened me too, but I had a gun on me; that stopped him."
After something of a recording hiatus in 1954, Rosco's deal with Duke was up in June, 1955 and Sam Phillips promptly signed him to a three-year Sun contract. On 9 June, 1955, he recorded "Just Love Me Baby" and "Weeping Blues", which would combine as his first release on the Sun label (the two sides were also issued on Flip). Backed by Pat Hare on guitar, Tuff Green on bass, saxmen Harvey Simmons and Richard Sanders, with Jeff Grayer on drums, Rosco played piano and sang on these two sides.
The following February, Rosco recorded a number of sides from which "The Chicken (Dance With You)"/"Love For You Baby" were selected for release on Flip and Sun (237). In another of those somewhat irresponsible actions that punctuated Rosco's career in the 50's, he gave the tape of "The Chicken" to Bill Harvey of Duke Records who happened to be in town and called into the Club Handy, where the boys were rehearsing. Harvey took the tape back to Robey, who gave Rosco $450 for the publishing. When the record came out, Robey promptly sued Phillips. "After that, Sam lost interest in me. He thought I betrayed him, which I'm sure I did now." "The Chicken" not only started a dance craze but also made famous a rooster named "Butch", who, decked out in miniature suits to match his owner, gyrated and drank scotch during live performances, to the delight of audiences. However, Butch succumbed to his excesses at an early age, and Rosco could never find an equal talent among the henhouses of the South.
On 25 October, Rosco recorded another fruitful session that yielded "Shoobie Doobie"/"Cheese And Crackers" (Sun 257). The latter credits Hayden Thompson as the writer. Thompson recalls meeting up with Gordon at Taylor's Café, next door to the Sun Studios, where artists would go for a bite to eat and to exchange the latest gossip, and it was there that they wrote "Cheese And Crackers". However, Rosco had no such recollections: "Hayden Thompson? No, I never met him. I never heard of him." Billboard described it as "the weirdest record of the week".
In July, 1957, Rosco re-entered the Sun studios to record "Sally Jo"/"Toro" ("Freddie Travers did the vocals on "Toro". I didn't know no Spanish."). The recording of "Sally Joe" is one of the few examples of black singers recording rockabilly (G.L. Crockett's "Look Out Mabel" and Roy Brown's "Hip Shakin' Baby" are two others). Rosco listened to a lot of country music right throughout his life, "I get most of my ideas from country stuff."
The remaining Sun recordings all date from unidentified sessions. "Do The Bop" and "Bop With Me Baby" were probably contenders for the 1957 film "Rock Baby Rock It", in which Rosco appeared, along with Johnny Carroll, the Belew Twins and Don Coats. The film was made in Dallas for Evelyn Productions. In it, Rosco was billed with the Red Tops and performed "Bop It" and "Chicken In The Rough". Whilst Rosco's early recordings at 706 Union were primitive R&B platters, his later recordings for the Sun label acquired a greater degree of sophistication. The emergence of Rosco Rhythm, a shuffling piano style that was a recognisable forerunner of Ska and Blue Beat music, was a factor that made Rosco's music very popular with the West Indian community, especially his earlier R&B hit "No More Doggin'". Intriguingly, Rosco and his band toured Brazil, Argentina and Jamaica in 1956 and 1957, backing the Platters.
Rosco returned to Sun Studios in August, 1958 for a final session at which he recorded "Cherry Pink And Apple Blossom White" which was never issued. He moved to Shreveport after his Sun contract expired and signed with Vee-Jay in Chicago in 1959, after failing to impress Ralph Bass at King. Rosco's best-known recording during his short stay at Vee-Jay was "Just A Little Bit", a song inspired by a riff from Jimmy McCracklin, which saw further mileage in 1964 as part of the British Beat scene, recorded by a group called the Undertakers (who performed in full funeral garb).
Rosco's first marriage to Ethel Bolton, at an early age, had lasted only three weeks, but during his stay in Shreveport, he met and married Barbara Kerr, also a native of Memphis. When his contract with Vee-Jay expired, Rosco and his wife moved to New York in 1962. He immediately recorded a session for Columbia which wasn't issued and then signed with ABC-Paramount, where he had two singles released. From there, he moved to Old Town, where his second single, "It Ain't Right", was a duet with his wife. Further releases followed on Jomada, Rae Cox and Calla in the late sixties, and eventually, in 1969, Rosco launched his own label, Bab-Roc, which saw five singles issued.
By the early seventies, Gordon had virtually disappeared from the music scene, having concentrated his efforts on a dry cleaning business, and raising his three sons. It took until 1979 for Hank Davis to track him down in New York. In 1982, Hank organised a Memphis Blues Festival that starred Rosco, and this was followed by tours of Scandinavia and Britain, as well as appearing at the Utrecht Blues Festival. In London, he was reunited on stage with B.B. King at the 100 Club.
In 1984, his wife, Barbara, died after a long struggle against bone cancer. Following her death, Rosco felt the pull of his first and most enduring love, music, and renewed his live performance career in the New York area, while writing and recording new material at home. His uncommon rhythmic expression was ill-suited to the synthesized trend, and Rosco suffered a number of disappointments before pairing with guitar great Duke Robillard for the recording of "Memphis, Tennessee," released in November, 2000, by Stony Plain Records. Duke and his band recreated the shuffling beats and honking saxophones that had characterized Rosco's early career and restored the vigorous appeal of early hits, as well as providing the "Rosco Vibe" on new songs like the title track, a tribute to Gordon's hometown and musical past. As a result of the attention garnered by the album, Rosco was nominated for a Handy Award as "Comeback Artist of the Year."
Although suffering from diabetes, heart disease and a herniated disc in his lower back, Rosco jumped into his second coming with an energy and enthusiasm that delighted audiences everywhere. He participated in several major documentaries about early rock and R&B and performed in festivals at every opportunity. In May 2002, he returned to Memphis, joining old friends B.B. King, Ike Turner and Little Milton for a performance tribute to Sam Phillips during the W.C. Handy Awards Show (broadcast by PBS last year). He culminated the busy weekend of activities and honours with a show featuring blues great Reverend Gatemouth Moore and jazz legend Calvin Newborn.
Rosco was found dead, of natural causes at his Queens, New York, residence on July 11, 2002, and he was laid to rest at the Rosedale Cemetery in Linden, New Jersey.
Recommended listening:
Rosco's Rhythm (706 Union recordings). Charly CP CD 8162 (1996). Liner notes by Adam Komorowski (from which much of the above was generously borrowed).
Bootin'. (RPM releases). Ace CDCHD 694 (1998).
ReNuAL2 Side Event on the Margins of the June Board of Governors Meeting held at the Agency headquarters in Vienna, Austria. 7 June 2022
Photo Credit: Dean Calma / IAEA
Opening Remarks:
Najat Mokhtar, IAEA Deputy Director-General and Head of the Department of Nuclear Sciences and Applications
Welcome Remarks:
Rafael Mariano Grossi, IAEA Director-General
Remarks from the Co-Chairs of the Friends of ReNuAL
HE Dr. Götz Volker Karl Schmidt-Bremme, Resident Representative of Germany to the IAEA
HE Mr Rapulane Molekane, Resident Representative of South Africa to the IAEA
Donor Representatives:
HE Mr. Richard Travers Sadleir, Resident Representative of Australia to the IAEA
HE Mr Sadiq Marafi, Resident Representative of Kuwait to the IAEA
HE Mr. Luis Javier Campuzano Piña, Resident Representative of Mexico to the IAEA
HE Mr. Suleiman Dauda Umar, Resident Representative of Nigeria to the IAEA
Mr. Abdulla Nasser Al-Hajiri, Charge d’Affaires, Qatar
Ms. Nataly Subrtova, Nuclear Affairs Advisor
HE Ms Barbara Žvokelj, Resident Representative of Slovenia to the IAEA
HE Ms. Laura S. H. Holgate, Resident Representative of the United States of America to the IAEA
Mary Poppins was made into a film based on the series of children's books by Walt Disney Productions in 1964. According to the 40th anniversary DVD release of the film in 2004, Walt Disney first attempted to purchase the film rights to Mary Poppins from P.L. Travers as early as 1938, but was rebuffed because Travers did not believe a film version of her books would do justice to her creation and did not want an animated cartoon based on it. Disney finally succeeded in 1961, although Travers demanded and got script approval rights.
The relationship between Travers and Disney is detailed in Mary Poppins She Wrote, a biography of Travers, by Valerie Lawson, published by Aurum Press in the United Kingdom. The relationship is also the subject of the 2013 Disney film Saving Mr. Banks.
The process of planning the film and composing the songs took about two years. Songs in the film are by the Sherman Brothers. Mary Poppins is played by Julie Andrews. Disney cast Dick Van Dyke in the key supporting role of Bert. The Banks children were played by Karen Dotrice and Matthew Garber. George and Winifred Banks were played by David Tomlinson and Glynis Johns. The film features a mix of adventures and episodes taken from each of the existing novels, and new events, created for it. In notable differences from the original novels, the film does not include the characters John, Barbara or Annabel Banks, and has Mary Poppins herself characterized as noticeably kinder.
The film received widespread acclaim from critics and audiences, and was nominated for the Academy Award for Best Picture with Julie Andrews winning the Academy Award for Best Actress for her performance as Mary Poppins. The film won an additional four Oscars for Best Original Song (Chim Chim Cher-ee), Best Film Editing, Best Visual Effects and Best Original Score.