“After the forming of the National Constituent Assembly, LaFayette helped write the Declaration of the Rights of Man and of the Citizen, with Thomas Jefferson’s assistance; inspired by the United States Declaration of Independence, this document invoked natural law to establish basic principles of the democratic nation-state. In keeping with the philosophy of natural liberty, Lafayette also advocated for the end of slavery.
After the storming of the Bastille, Lafayette was appointed commander-in-chief of the National Guard and tried to steer a middle course through the French Revolution…
As leader of the National Guard, Lafayette attempted to maintain order and steer a middle ground, even as the radicals gained increasing influence…”
La Fayette et Mme de Staël – à propos d’une correspondance inédite
“La Fayette ! Madame de Staël ! Deux noms qui appartiennent à la même période de notre histoire et que cependant on n’a point l’habitude de voir associés. C’est que le héros de l’indépendance américaine et l’auteur de Corinne n’ont jamais participé à une action commune et ont mené deux vies très différentes. Semblable a été néanmoins en ceci leur destinée, que, depuis qu’ils ont disparu de la scène du monde, la popularité de leur mémoire a connu de singulières vicissitudes. Avant de publier un certain nombre de lettres du général à Mme de Staël, qui ne paraîtront pas, je l’espère, dénuées d’intérêt et qui font honneur à tous deux, je voudrais rechercher les causes de ces vicissitudes.
La popularité de La Fayette est depuis quelques années en recrudescence, mais c’est à l’Amérique qu’il le doit…”
((Paul-Gabriel Othenin de Cléron, comte d’Haussonville, Revue des Deux Mondes, 1921)
Texte integral en ligne : https://fr.m.wikisource.org/wiki/La_Fayette_et_Madame_de_Staël
PWT 22-2018 Lafayette Nous Voila
While reading the PWT, you can listen to a song, quite popular during those days and which updet the aristocrats:
AH ! ÇA IRA, ÇA IRA, ÇA IRA ! Edith Piaf singing (Youtube) :
“… and so, at last, to the festivities of today, when Markle was hitched to her true love—her true true love, forever and ever—at St. George’s Chapel, Windsor. Third time lucky. The heavens above were of an unfamiliar blue. Ever since Elizabeth II was crowned under soaking skies, the pact between good news and bad weather has been a matter of national pride, yet here we were, suffused with warmth—an event so rare that it was greeted by Amal Clooney in a dress of liquefied sunshine. Her husband’s suit, to judge by its tint of shimmering gray, had been woven from the same material as his beard. Oprah Winfrey was in pink and continued to radiate satisfaction, despite the fact that, having turned up promptly at a quarter to ten, she had to occupy her spot in the knights’ stalls of the chapel (not the coziest of perches) for two and a quarter hours before the main event. So contagious were “the atmospherics,” as one member of the palace staff described them, that even Victoria Beckham was affected. She didn’t actually smile, but there were several moments when it looked as if she might.
The surrounding mood was of a buoyancy not seen since the London Olympics in 2012. Ordinary citizens initiated conversations of their own free will rather than, as custom dictates, either waiting for their dogs to sniff each other or deciding not to speak at all. More than two thousand members of the public had been invited onto the castle grounds and were guaranteed a clear view of the proceedings. The invitation was, in part, a vote of thanks for services rendered. One such guest, Helen Mack, had worked in the hospice movement for thirty years, providing care for the terminally ill; another spectator, Cavita Chapman, is not only a senior manager in the treatment of mental health—a cause to which Harry has lent outspoken support—but, as I learned, an expert on the insanely complex plot of “Suits.” Chapman was crisp in her assessment of the real-life couple, expecting great things of Meghan (“She’s a feminist”) and the Prince—“Harry’s always been, you know, ‘Why not?’ ” Put together, Chapman said, “Both of them will change the world.”(Anthony Lane, The New Yorker) Read more »
Claude-Marie Ferrier (1811-1889)
Windsor Castle and Town Skyline, 1851
Salt paper print from an albumen glass negative
JOIN US AT THE LONDON PHOTOGRAPH FAIR – THIS SUNDAY!
27th May 2018, 10am – 4pm
With thousands of rare, unique and unusual finds at every event, The London Photograph Fair is the meeting place for vintage photography dealers, collectors, curators and connoisseurs – since 1982
LOCATION & TIMES
Venue: Bloomsbury Holiday Inn, Coram Street, London WC1N 1HT
Date & Hours: Sunday 27th May 2018, 10am – 4pm
Russell Square (1 min walk) / St. Pancras Station (7-10 min walk)
Le Souper du lundi 23 avril :
Goat Cheese Gateau
Buttermilk Biscuit Crumbles Young Variegated Lettuces
Rack of Spring Lamb
Burnt Cipollini Soubise Carolina Gold Rice Jambalava
Crème Fraîche Ice Cream
East view of mansion at Mount Vernon (Lincoln Financial Foundation Collection, Allen County Public Library, Fort Wayne, Indiana)
About the portraits:
Xue-Lan-Se (born 2004)
The Candidate, 2017
El Muro, 2017
Photo ceramic impressions on aluminium (Fotalux), 30×30 cm
Unbreakable, indestructible, convenient for all outside walls,
each one of an edition of 7 numbered signed copies. each 400 US $
Musick has Charms to sooth a savage Breast,
To soften Rocks, or bend a knotted Oak.
I’ve read, that things inanimate have mov’d,
And, as with living Souls, have been inform’d,
By Magick Numbers and persuasive Sound.
What then am I? Am I more senseless grown
Than Trees, or Flint? O force of constant Woe!
‘Tis not in Harmony to calm my Griefs.
Anselmo sleeps, and is at Peace; last Night
The silent Tomb receiv’d the good Old King;
He and his Sorrows now are safely lodg’d
Within its cold, but hospitable Bosom.
Why am not I at Peace?
William Congreve, The Mourning Bride, 1697
SYLVAIN, PHOTOGRAPHE DE TAHITI
In 1946, a young French war correspondent photographer …
seduced by his stopover in Tahiti, when he returned to France from Indochina, chose to settle in Punaauia. Adolphe Sylvain, a public works engineer by training, has just participated in the Libération de Paris as a tank driver in General Leclerc’s 2nd DB. He took the opportunity to fix some of the famous photos of the liberation with his Rolleiflex.
Continuer la lecture de « 12.04.2017 PWT 15-2018 LA MUSIQUE ADOUCIT LES MŒURS – CHARMS TO SOOTH A SAVAGE BREAST »
“In photography, a negative is an image in which the lightest areas of the photographed subject appear darkest and the darkest areas appear lightest. This reversed order occurs because the extremely light-sensitive chemicals used to capture an image quickly enough for ordinary picture-taking are darkened, rather than bleached, by exposure to light and subsequent photographic processing.Negatives were once commonly made on a thin sheet of glass rather than a plastic film, and some of the earliest negatives were made on paper.
PWT 14-2018 Negre Negatives
“Portraits were printed in woodburytype, a fully continuous tone photomechanical process using carbon black, superbly stable from light fading. This process required negative lead matrices, filled with hot, gelatin-based, pigmented ink. A goodquality india ink was used to produce black images. Woodburytype images were also printed in dark-brown, brown, or purple-brown colors resembling gold-toned albumen photographs in which black was mixed with red pigments” (cf. Stulik& Kaplan, Woodburytype, CCI).
The lead mold, the negative matrix needed a positive matrix: a gelatin relief matrix like those. A high-power hydraulic press was used to press the gelatin matrix into some smooth, perfectly leveled plate of lead, forming then one, two, three negative lead matrices (molds). After a solution of gelatin, albumen, sugar, and ammonium dichromate was dried, it was exposed to sunlight under a glass negative of Nadar or Carjat.
Continuer la lecture de « 23.03.2018 PWT 12-2018 Thirteen Fragile Original Gelatin Relief Matrices from Galerie Contemporaine »
Two thousand years of impressions
Two thousand years of paper, two thousand years of impressions, two thousand years of destruction, with two main processes: the paper can move to the text (Eastern tradition) or the text can move to the paper (Western tradition).
In China, the stone or the block (matrix) is fixed firmly on a table. The printer takes a round horsehair inking brush and applies ink with a vertical motion. The paper is then laid on the block and rubbed with a long narrow pad to transfer the impression to the paper. The paper is peeled off and set to dry. Because of the rubbing process, printing is only done on one side of the paper. Further reading on Wikipedia related articles and access to a video with this link:
Weekly transmission 11-2018 presents:
Before paper, 2566 BC: earliest extant papyrus, the Diary of Merer
Before paper, c. 300 BC: bamboo slips, the Book of Laozi
Two thousand years ago, invention of paper in China
175 AD: carved stone books and earliest paper and ink-rubbings
690 AD: did Wu Zetian commission 100,000 printed scrolls ?
July 751 AD: The Battle of Talas near Samarkand, a key event in the history of paper
764 AD: the Empress Kōken commissioned 1,000,000 small printed scrolls
1139 AD : the earliest extant book printed with wooden movable type
July 1377: the earliest extant book printed with movable metal type
March 1455: promotion of the Gutenberg Bible in Frankfurt
1640: the earliest extant book printed in British North America.
1725, the printing of the Chinese Imperial Encyclopaedia
WANG XUE-ZHANG (b. 1953). Three traditional ink rubbings of Luoyang carved inscriptions
Post-scritum by Theophile Bouchet: “A Westerner facing Chinese culture”
Acces au pdf
“Un tout petit forgeron à binocle”
“Lautrec, having read Poil de Carotte (Carrot Head), asked Tristan Bernard to let him meet the author, Jules Renard. Their first interview took place November 26, 1894 (Journal of J. Renard): “A very small blacksmith with binocle; a small double compartment bag; thick lips, and hands like those he draws with spreading and bony fingers, inches in a semicircle … It hurts first, by the smallness, then he is very alive, very nice, with grunts that separates his sentences and raises his lips, like the wind raises the bulges of a door. ”
Early in 1895, Lautrec researched a fox’s head to compose an ornate letter for an article of his friend in the Revue Blanche. It was Lautrec who proposed to Renard (1895) to illustrate a dozen of his Histoires naturelles, and to sell 100 copies at 25 francs each; the edition will be made by Floury in 1899, it will not be successful…” (Jean Adhémar, Toulouse-Lautrec 1951 BN exhibition catalogue)
PWT 10-2018 Toulouse-Lautrec l’Oripeau
photomontage supervised by Jean Adhemar, 1951, glass plate, 120×90 mm
Ashes and Bones Stories: Martin Bormann’s copy of Palafox and Mendoza
We may be close to a big burning of books. Not by order of a single decision maker fanatic of the Qin Emperor exemplary orders of 213 BCA or another Great Leader a few centuries later. Just a general indifference with a multiplication of governemental bands listing books as outlaw, lists issued by technocratic bureaucraties, all impatient to get rid of thousands of librarians and optimize thousands of buildings.
Let’s pick one small volume, in a strict and severe binding, probably designed by Reichsleiter Martin Bormann. The text is a rather boring German translation of Palafox and Mendoza 1650s texts against the jesuits, printed in Gothic alphabet in 1773, the year of general bannisment of the Jesuits.
The property stamp deserves our attention as the heir of Hitler could have been interested in the administration of Latin America native people, he is said to have chosen the Paraguaian missions as a post apocalyptic heaven.
This small volume, difficult to read, brings our attention to contemplate three centurie: Spain and Mexico in mid 17th, the World in 1773 and the World abter the Fall oftheReich, 1945. Last point, ironically, Martin Bormann is the decision-maker who banished the use of gothic characters in German countries.
PWT 09-2018 Ashes and Bones
Departing early February 1913, returning in the first days of May, Alberto Nunes jr was travelling with his father, Alberto Nunes and his portable camera. He recorded decisive moments of the trip, on the Union Pacific train, aboard the trans-Pacific liners SS Mongolia and Tenyo Maru — on 2nd class, with Chineses immigrants on steerage — some impressive night fire in Manila, buying toys in a Japaneses shop and the early sewing machines shops and offices. A member of the Nunes family was working for the growing Singer Company : Uncle Luis had became a Singer representative in Manila when he had visibly a terrible accident.
We can imagine the album open when the travellers were telling magical travel recollections to the young ones. Some pencil notes, verso, and ink captions, recto, supported the failing or rather transforming memories, human transmission is always in progress, opposed to the dry and perfect restitutions of machine brains.
The album contains 89 original photos by Alberto junior, printed on postcard papers, together with some printed views and a Japanese portrait with the curious note: “Geisha que attendo a mi abuelo Alberto J. Nunes en una casa del Yoshi-Wara”. (The Geisha who took care of grandfather Alberto in one of the Yoshi-Wara special houses).
The Dog (狗) is one of the 12-year cycle of animals that appear in the Chinese zodiac
Access to full transmission, PWT 07-2018 Calling up the dog days to be
The Great Race called by the Jade Emperor:
“An ancient folk story tells that Cat and Rat were both very bad at swimming.
Although they were poor swimmers, they were both quite intelligent. To get to the meeting called by the Jade Emperor, they had to cross a river to reach the meeting place. The Jade Emperor had also decreed that the years on the calendar would be named for each animal in the order they arrived to the meeting.
Cat and Rat decided that the best and fastest way to cross the river was to hop on the back of Ox.
Continuer la lecture de « 15.02.2018 PWT 07-2018 HAPPY NEW YEAR: CALLING ON THE DOG DAYS TO BE »
PWT 05-2018 Breaking the Wall
ZONAMACO MÉXICO ARTE CONTEMPORÁNE O7-11 FEBRUARY 2018 Fifteenth edition with the presence of Galerie du Palace
“Frontiera hipnótica de la conciencia” (English presentation)
Serge Plantureux presents three young French artists under the age of thirty, who articulate their reflection around hypnosis guiding to the border of consciousness, aiming to modify time and space perception. This is a resolutely contemporary notion. Our post-truth era reveals a multitude of fields in which, trough creation, imaginary and reality are mixed-up. To such a point further than what is “possible” or “improbable”, opening perspectives on bottomless chasms.
Lyes Hammadouche questions the limits and boundaries of time contemplation trough moving mirrors filled with universes, guiding the gaze to an altered state of consciousness.
Théophile Bouchet draws bodies flirting with waves, floating on the surface of awareness. The eyes are invited towards optical boundaries.
Colin Lusinchi realizes Martian surface samples from possible coring for mining and colonization without limits. These Martian cores testify to the impacts of meteorites and invite the passerby to the cosmic journey,
A seismograph records the vibrations of the space trough the living presence of visitors.
Continuer la lecture de « 01.02.2018 PWT 05-2018 BREAKING THE WALL, GALERIE DU PALACE GOES TO MEXICO »
Healy’s Portrait of President-Elect on Display
“In November 1860, shortly after Abraham Lincoln was elected president, George Peter Alexander Healy (1813-1894) began the portrait on view in this gallery. Healy’s painting was the first portrait for which Lincoln posed following his election and also the last to show him without a beard. Prior to the election, Lincoln had received a letter from an eleven-year-old girl, who wrote that his appearance — as well as his chances for winning — would be improved if he grew whiskers. Lincoln replied that since he had never worn whiskers, the change might be viewed as an “affectation.” Three months later, however, while traveling from Illinois to Washington for his inauguration, Lincoln made a point of stopping in the young girl’s hometown, where he delighted in showing her his newly grown beard. Healy’s empathetic portrait of the clean-shaven president-elect records Lincoln’s features before the outbreak of the Civil War and the radical change in his appearance that followed, as documented in these photographs.”
Access to the complete pdf in progress :Dossier Lincoln 0418
Louis (Nicolas) Cabat (1812-1893)
“Cabat, a French landscape painter, born at Paris Dec. 24, 1812; studied painting under M. Camille Flers (1802-1868), and visited the most picturesque parts of France. He first exhibited in the “salon” of 1833 some landscapes which the critics pronounced to be too realistic; but he persevered in this style of painting till 1837, and became the founder of a school. From that period till 1848 he only contributed twice to the annual exhibitions (in 1840 and 1841), but since 1848 he has been a regular contributor. M. Cabat was elected a member of the Academy of Fine Arts in 1867, and unanimously chosen Director, in Nov., 1878, of the French School of Painting at Rome.” (Thompson Cooper, Men of the Time, 1884)
When director of the Villa, a young artist, Henri Lucien Doucet (1856-1895), sent a piece considered too bold (scene of Harem) which entailed the non-renewal of Cabat at the head of the Villa.
Cabat is considered a self-educated artist like his friend of early days, Charles Jacque. “Charles Jacque had first been introduced to these Old Masters early in his career (he was 17 years old in 1830) when Louis Cabat, then a young porcelain painter who lived next door to Jacque (passage Saint-Antoine), took him to the Bibliothèque Nationale where they looked at prints by or after the work of Poussin, Lorrain, Dürer, and Rembrandt.” (Rehs Gallery)
PWT 04-2018 Louis Cabat