DOCSLIB.ORG

Les Grandes Figures En Vidourle Camargue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Les Grandes Figures En Vidourle Camargue LES GRANDES FIGURES EN VIDOURLE CAMARGUE Louis IX Guillaume de Nogaret Catinat Charles de Baschi Marie Durand Louis-Joseph de Montcalm Le bailli de Suffren Louis Médard Paulin d’Anglas Louis Perrier Gaston Doumergue Louis Feuillade Jean Hugo Fanfonne Guillierme Lawrence Durrell L’EXPOSITION PETR Vidourle Camargue 83 rue Pierre Aubanel 30470 AIMARGUES Tél 04 34 14 80 00 www.petr-vidourlecamargue.fr PORTRAITS DE GRANDES FIGURES EN VIDOURLE CAMARGUE Le PETR Vidourle Camargue s’est proposé de mettre en lumière les destins hors normes de quelques grandes figures du territoire. Ces hommes et femmes, natifs ou non de Vidourle Camargue, sont les té- Portraits moins émouvants d’épisodes mar- quants, parfois tragiques, de notre of the Grand Figures histoire. of Vidourle Camargue Au fil des récits, se découvre l’em- preinte du caractère affirmé de notre territoire. Chacun des per- sonnages, à sa manière aura in- The Vidourle Camargue PETR (Pôle fléchi le cours du destin, de l’amé- d'équilibre territorial rural – Territo- nagement, de l’économie locale, rial and Rural Balance Cluster) has ou, à l’inverse, aura puisé de ses suggested highlighting the unusual origines en Vidourle Camargue, les destinies of some of the principal ingrédients pour se construire un figures of the area. These men and parcours de vie exceptionnel. women, who may or may not be Ainsi, au travers des siècles, nous natives of the area, bear moving vous invitons à découvrir (ou redé- witness to significant, sometimes couvrir) 15 portraits d’hommes et tragic, episodes in our history. de femmes dont le destin particu- Through these accounts, an impres- lier fait résonner notre histoire et sion of our area's definite character suggère la visite de quelques lieux will emerge. Each of these charac- emblématiques de notre patri- ters in their own way will have in- moine en Vidourle Camargue . fluenced the course of the destiny, gue the development, the local eco- él 04 34 14 80 00 nomy, or on the contrary, will have taken from Vidourle Camargue the gue.fr ingredients to form an exceptional life journey. So, through the centuries, we invite you to discover (or rediscover) 15 portraits of men and women whose individual destiny resonates with our history and suggests a visit to various iconic places in our Vidourle Camargue heritage. Profitant de son départ aux croisades 1 depuis Saint-Gilles en 1248, Louis IX proposa à l’Abbaye de Psalmodi qui Louis IX exploite des pêcheries dans la baie d’échanger des terres céréalières ou Saint Louis à Sommières contre le marais de (1214-1270) l’Agou Mour jouxtant le littoral pour Le royaume construire le port en retrait de la mer, sur la Méditerranée mais reliée par un grau (le futur Grau- du-Roi), le protégeant des attaques. Né le 25 avril 1214 à Poissy, Louis IX est Il change ainsi définitivement la géo- sacré roi à 12 ans en 1226, alors que sa politique locale, le destin de la baie et mère Blanche de Castille, première ré- aménage durablement le territoire. Le gente officielle du royaume gouverne port d’Aigues-Mortes génère un essor jusqu’en 1235. Il reçoit une éducation économique extraordinaire, son pe- très poussée, sur les plans moral et tit-fils Philippe IV le Bel, crée le salin religieux. Sous son règne, il fit passer royal en 1290 et rachète la baronnie la France d’un système féodal à celui de Lunel pour capter le sel du Langue- d’un royaume préfigurant « l’État-Na- doc. Le sel remonte par le Rhône dès tion ». Roi très pieux, il partit 2 fois en 1301 et fera la fortune du royaume de / B&Bg. croisade depuis Saint-Gilles du Gard France jusqu’à la Révolution avec l’ins- en1248 et Aigues-Mortes en 1270. Il tauration de la gabelle en 1341 par Phi- meurt en 1270, à Tunis. lippe VI arrière-petit-fils de Louis IX. En s’emparant de la baie le royaume Louis IX et la création de France a laissé de vénérables mo- du port d’Aigues-Mortes numents témoins de cette époque : Le Comté de Toulouse, actuelle Occi- Notre-Dame des Sablons, les tours et tanie est une riche province exploitant remparts d’Aigues-Mortes construits de nombreuses salines sur ces étangs par Louis IX et Philippe III le Hardi, littoraux. Ceci fait la fortune des sei- la tour Carbonière et sa route sur le gneurs locaux, les Bermond de Sauve marais construite au XIVe siècle par et d’Uzès, les Gaucelm de Lunel sont Philippe le Bel, puis le fort de Peccais tous exploitants. construit par Henri IV, descendant di- C’est une province issue du partage ca- rect du dernier fils de Louis IX, Robert rolingien, indépendante du royaume. de Clermont. Elle attire les convoitises des Capet, devenus rois de France, qui souhaitent créer un port français sur la Méditer- ranée pour échanger avec l’Orient. La croisade des Albigeois de 1209 va leur fournir l’occasion de la récupérer. Blanche de Castille impose au comte de Toulouse vaincu, par le Traité de Paris de 1229, de marier son héritière / BNF Musée du Désert Mission patrimoine .PETR Vidourle Camargue : P.Carlier. Crédits unique à son fils Alphonse de Poitiers, frère du roi. Alphonse devient donc le nouveau comte, vassal du royaume. Sommières, siège de l’administration royale, avait servi dès 1220 de tête de pont au projet. Un premier sénéchal s’y était installé au château avant d’al- ler à Nîmes. s 1 forced the defeated count of Toulouse's X Louis IX or Saint Louis sole heir to marry her son Alphonse of i (1214-1270) Poitier, the king's brother. Alphonse be- e came the new count and kingdom's vas- s The Mediterranean kingdom sal. Sommières, seat of the royal admi- s de nistration, was the bridgehead for this r Born on 25th April 1214 at Poissy, Louis project from 1220. A first seneschal lived , IX was crowned king at the age of 12 in 1226, whilst his mother Blanche of Cas- in the château before going to Nîmes. tile, the first official regent of the realm, Taking advantage of his departure for reigned until 1235. He received a very the Crusades from Saint-Gilles in 1248, Louis IX offered the Abbey of Psalmo- t thorough education, on moral and re- di, which managed the bay's fishing, e ligious matters. During his reign, he grain-growing land in exchange for or took France from a feudal system to one which foreshadowed a "Nation-State" the marshland at Agou Mour along the coast to construct a port back from the n Kingdom. The very pious king went on sea, but linked by a channel (the future e crusades twice from Saint-Gilles du Gard in1248 and Aigues-Mortes in 1270. Grau-le-Roi), which would protect it from attacks. s He died in Tunis in 1270. He completely changed the local geo- e de politics, the bay's destiny and set / B&Bg. the land up for the long-term. The Ai- gues-Mortes port created an incredible economic boom, his grandson Philip IV e founded the royal salt factory in 1290 and bought the Lunel barony to tap into ue : the Languedoc's salt. Salt was brought t up the Rhône from 1301 and made the s French Kingdom's fortune until the Re- , volution, with the levying of the salt tax e in 1341 by Philip VI, great-grandson of r Louis IX. s The French kingdom left behind vene- rable monuments that bear witness to the period when they captured the bay: Notre-Dame des Sablons, the towers Louis IX and the creation and ramparts in Aigues-Mortes built by of the port of Aigues-Mortes Louis IX and Philip III the Bold, Carbo- The County of Toulouse, what is now Oc- nière tower and its marsh road built in citania, was a rich province with count- the 14th century by Philip the Fair, then less salt factories on the coastal lakes. the Peccais fort built by Henri IV, a direct It made local rulers' their fortunes, e.g. descendant of Louis IX's youngest son, the Bermonds in Sauve and Uzès and Robert de Clermont. Crédits : P.Carlier. Mission patrimoine .PETR Vidourle Camargue / BNF Musée du Désert Mission patrimoine .PETR Vidourle Camargue : P.Carlier. Crédits the Gaucelms in Lunel. The province came from the Carolingian break-up, independent of the kingdom. It caught the attention of the Capets who had become French kings and wanted to build a French port on the Mediterranean to trade with the East. Their chance to capture it came in 1209 with the Albigeois crusade. Using the 1229 Treaty of Paris, Blanche of Castile Guillaume sur la découverte de ses dossiers au Trésor des Chartes, menés par Sébas- 2 de Nogaret tien Nadiras, conservateur aux archives (1260 ?–1313) nationales, ont le mérite de donner une Un père de l’État-Nation nouvelle image plus réaliste de ce père de l’État-Nation. Il quitte enfin l’univers romanesque dans lequel historiens et romanciers du passé l’avait confiné. Reste aux historiens du XXIe siècle de lui rendre la place qu’il mérite dans l’histoire des institutions françaises. Guillaume de Nogaret, seigneur de la Vaunage et de la Petite Camargue Guillaume de Nogaret fait partie des « hommes nouveaux », passé au ser- vice du roi pour ses compétences. Sans doute formé à Bologne puis entré au service des Roi d’Aragon à Mont- pellier, il fonde en 1285, la chaire de Droit romain à l’université.
Load more

Recommended publications
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
    A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor.
    [Show full text]
  • Jean Hugo Paris, 1894 - Lunel, 1984
    Jean Hugo Paris, 1894 - Lunel, 1984 ... Great-grandson of Victor Hugo (grandson of Charles and son of Georges Hugo), Jean Hugo was an important figure of the intellectual and artistic period between the two World Wars. His oeuvre comprises oil paintings and gouaches (often of small dimensions), book illustrations, theatre sets, sketches for stained-glass windows and ceramics. Brought up in an abundant artistic milieu, Jean Hugo was strongly attracted to drawing and painting from a very early age. Self-taught, he never sought to follow any particular teaching. He was also an avid reader and, in the years leading up to the First World War, he composed essays and poetry. His literary friendships, particularly with Jean Cocteau, led him to take part in a number of theatrical and ballet productions. His contemporaries thus saw him above all as a set designer for the entertainment world (fig.1). Room Hugo ... The Post-war Years : Between Figuration and Abstraction fig.1- Jean Hugo Three Costume Studies for “The Wedding on the Eiffel Tower”, 1921 Private collection Jean Hugo’s painting remains in a class of its own in the artistic panorama of the first ... half of the twentieth century. While it often calls to mind certain avant-gardist currents such as magical realism or metaphysical painting, it champions a real sense of originality. Alongside cheerful and naïve scenes or theatrical projects (The Wedding on the Eiffel Tower), he produced a series of canvasses in strange, solemn tonalities in the early 1930s (Solitude, 1933). The artist demonstrated an interest in forest scenes (The Hermit of Meudon, 1933) and religious themes (The Last Supper, 1933), as may be seen in the Well*.
    [Show full text]
  • California State University, Northridge Jean Cocteau
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere.
    [Show full text]
  • Paris Modern the Swedish Ballet 1920-1925
    PARIS MODERN THE SWEDISH BALLET 1920-1925 Nancy Vim Norman Baer with contributions by Jan Torsten Ahlstrand William Camfield Judi Freeman Lynn Garafola Gail Levin Robert~.~urdock Erik Naslund Anna Greta Stahle FINE ARTS MUSEUMS OF SAN FRANCISCO Distributed by the University of Washington Press ~~ETS SJ". ~~ v~ .:z;.~ ~0 f.... ~ RIVALS FOR THE NE-W Lynn Garafola n the early 192 0S the Ballets Russes faced a rival had been a "turn" on the English music-hall stage, while that challenged its monopoly of avant-garde ballet its grand postwar comeback at the Paris Opera early in I -the Ballets Suedois. Organized by Rolf de Mare, 1920 had been marred by a two-week strike of Opera the new company made its debut at the Theatre des personnel. And where the opening season of the Ballets Champs-Elysees on 25 October 1920 with an ambitious Suedois would offer fifty-odd performances, the Ballets program of works choreographed by Jean Borlin, the Russes season that followed would consist of fewer than company's star. Four ballets were given on the opening a dozen. night-Iberia, Jeux (Games), Derviches (Dervishes), and Still, Diaghilev must have found some consolation in Nuit de Saint-Jean (Saint John's Night, or Midsummer the identity-or lack of identity-of the rival enterprise. Night's Revel)-and in the course of the season, which To all appearances the new company was a knock-off of lasted for nearly six weeks, five new ones were added­ the Ballets Russes, from its name, which meant "Swedish Diver1:isse71lent, Maison de flus (Madhouse), Le To71lbeau Ballet," to its repertory, roster of collaborators, and de Couperin (The Tomb of Couperin), El Greco, and Les general aesthetic approach.
    [Show full text]
  • Designs in Glass •
    Steuben Glass, Inc. DESIGNS IN GLASS BY TWENTY-SEVEN CONTEMPORARY ARTISTS • • STEUBEN TH E CO LLE CT IO N OF DE S IG NS I N GLASS BY TWE N TY- SEVEN CONTE iPORARY ARTISTS • STEUBE l G L ASS lN c . NEW YORK C ITY C OP YTIT G l-IT B Y ST EUBEN G L ASS I NC . J ANUA H Y 1 9 40 c 0 N T E N T s Foreword . A:\1 A. L EWISOH Preface FRA K JEWETT l\lATHER, JR. Nalure of lhe Colleclion . J oH 1\1. GATES Number THOMAS BENTON 1 CHRISTIA BERARD . 2 MUIRHEAD BO E 3 JEA COCTEAU 4 JOH STEUART CURRY 5 SALVADOR DALI . 6 GIORGIO DE CHIRICO 7 A DRE DEHAI s RAO L DUFY 9 ELUC GILL 1 0 DU TCA T GRANT . 11 JOTI GREGORY 12 JEA HUGO 13 PETER HURD 14 MOISE KISLI. G 15 LEON KROLL . 16 MARIE LA RE TCIN 17 FERNAND LEGER. IS AlUSTIDE MAILLOL 19 PAUL MANSHIP 20 TT E TRI MATISSE 21 I AM OGUCHI. 22 GEORGIA O'KEEFFE 23 JOSE MARIA SERT . 24 PAVEL TClfELlTCHEW. 25 SID EY WAUGII 26 GHA T WOOD 27 THE EDITION OF THESE PIECE IS Lil\1ITED • STEUBEN WILL MAKE SIX PIECES FROM EACH OF THESE TWENTY­ SEVE DESIGNS OF WHICH ONE WILL BE RETAINED BY STEUBEN FOR ITS PERMANE T COLLECTIO TIIE REMAI I G FIVE ARE THUS AVAILABLE FOR SALE F 0 R E w 0 R D SAM: A. LEWISOHN This is a most important enterprise. To connecl lhe creative artist with every-day living is a difficult task.
    [Show full text]
  • The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
    THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu.
    [Show full text]
  • Carlton Lake
    Carlton Lake: An Inventory of His Collection in the Art Collection at the Harry Ransom Center Descriptive Summary Creator: Lake, Carlton, 1915-2006 Title: Carlton Lake Art Collection Dates: circa 1772-1985 (bulk circa 1910-1935) Extent: 41 boxes, 1 flat file drawer (1,098 items) Abstract: The Carlton Lake Art Collection is comprised mainly of drawings on paper, plus some paintings and sculpture, by modern French artists, most of whom had some connection to the French literary scene. The works of Christian Bérard, Félix Hilaire Buhot, Jean Cocteau, Raoul Dufy, André Hellé, Jean Hugo, Valentine Hugo, Berthe Morisot, Armand Rassenfosse, Odilon Redon, Arthur Rimbaud, Sir Francis Rose, and Ivan Thiele dominate the collection. Other prominent artists represented include Ferdinand Bac, Paterne Berrichon, Pierre Bonnard, Alexander Calder, Paul Cézanne, Richard Cosway, Alexandre Dumas fils, Henri de Groux, Max Jacob, Augustus John, Marcel Marceau, Marie Monnier, Pablo Picasso, Auguste Rodin, Leo Stein, and Henri de Toulouse-Lautrec. Access: Open for research. Please note that a minimum of 24 hours notice is required to pull Art Collection materials to the Ransom Center's Reading and Viewing Room. Some materials may be restricted from viewing. To make an appointment or to reserve Art Collection materials, please contact the Center's staff at [email protected]. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with
    [Show full text]
  • La Folle Époque. Des Ballets Russes Au Surréalisme
    LA FOLLE ÉPOQUE J.-P. CRESPELLE LA FOLLE ÉPOQUE DES BALLETS RUSSES AU SURRÉALISME HACHETTE OUVRAGES DU MÊME AUTEUR PROMENONS-NOUS DANS PARIS (Hachette). A LA DÉCOUVERTE DE L'ART DANS LES MUSÉES DE PARIS (Hachette). MONTPARNASSE VIVANT (Hachette). MONTMARTRE VIVANT (Hachette). LES MAITRES DE LA BELLE ÉPOQUE (Hachette). LES FAUVES (Ides et Calendes). VLAMINCK (Gallimard - Air du Temps). TERECHKOVITCH (Cailler, Genève). VILLON (Hazan). UTRILLO, églises (Hazan). Yves BRAYER, aquarelliste (Art et Style). TOULOUSE-LAUTREC, dessinateur (Au Pont des Arts). PICASSO, LES FEMMES, LES AMIS, L'ŒUVRE (Presses de la Cité). En préparation CHAGALL. Ci-contre : 1. JEAN COCTEAU : portrait de Picasso, l'Oiseau du Benin, fait à Rome en 1917. Holmès-Lebel. Photo Len Sirman. © by Spadem, Paris, 1968. © CHAPITRE PREMIER « PARADE » E 18 MAI 1917, les Ballets russes, absents depuis trois ans, faisaient leur rentrée à Paris au théâtre du Châtelet. On L était au plus noir de la guerre, au lendemain des muti- neries qui avaient ébranlé l'armée et de la désastreuse offensive Nivelle. Ce soir-là, le tac-tac de la machine à écrire dont Satie avait ponctué sa musique répondait en un écho ironique au tac-tac lugubre des mitrailleuses de Verdun. Malgré la présence dans la salle d'une claque enthousiaste de peintres descendus de Mont- martre et de Montparnasse, qui bigarraient de leurs chandails rouges et de leurs vestes de velours les robes du soir et les habits, Parade provoqua un énorme chahut. Un peu effrayé, Diaghilev, qui avait commandé le ballet à Cocteau, Satie et Picasso dans l'espoir de donner un nouveau souffle aux Ballets russes, rentra dans l'ombre et partit pour Londres attendre des jours meilleurs.
    [Show full text]
  • Give a Dog a Bone Some Investigations Into Erik Satie
    Give a dog a bone Some investigations into Erik Satie An article by Ornella Volta. Original title: Le rideau se leve sur un os. From Revue International de la Musique Francaise, Vol. 8, No. 23. English translation by Todd Niquette. © 1987: Reprinted and translated with kind permission. Satie said one day to Cocteau: "I want to write a play for dogs, and I already have my set design: the curtain rises on a bone". It often happens with Satie that, amazed by the arresting image he suggests, we forget to dig for meaning beneath the proposal. Such a magic formula - we're happy just to mull it over, even pass it on, to transmit it intact. Why ask ourselves about the details of such a play? About its plot, its dialogue? Why did he go out of his way to describe the set? Unpublished drawing by Jean Sichler (1987) Simply to raise the question touches on the pedantic or superfluous. In a play "for dogs," the bone is at once the content, the set and the plot. The set is the play. It has often been asked why Satie wrote several of his works "for a dog". Some have seen an allusion to Chopin's Valse op. 64, no. 1 nicknamed "little dog's waltz" - or maybe a sly wink at the "Love Songs To My Dog" (Sins of Old Age) by Rossini. Others have seen, perhaps a bit more to the point, a tribute to Diogenes and other Cynics. For us, as we have written elsewhere, the dedication of the Flabby Preludes sends us back, automatically and inevitably, to the prologue of Gargantua, which begins by quoting the same portion of the "Banquet" which Satie would use in his "Portrait de Socrate".
    [Show full text]
  • Designs in Glass
    DESIGNS IN GLASS BY TWENTY-SEVEN CONTEMPORARY ARTISTS • STEUBEN . I TWENTY-SE VE N CONTE:\I POHAH Y ARTI ST S THE C OLLE C TIO N O F DE S IG r s I N G LA SS BY TW EN T Y - SEVEN C O N T EM POR A R Y A RTI S T S • S T EUBEN G L ASS I Nc . NE W Y O R K C IT Y C OPYl\ I G H T BY S T EU B EN GLA SS I NC. JA NUA l\Y 1940 c 0 N T E N T s Foreword . SA \l A. L E w 1so 1-1 N Preface tHANK J E WE TT '> l ATll ER, Jn. Nature of the Collecl ion . J o 11 N \I . GATES Numbt·r T l IOMAS BENTON C ll HISTIAN BEH.AHD . 2 MUlHll EAD BONE :J J EAN COCTEAU 'I- J OllN STEUA HT CURRY •• SA LVADOR DA LI (> G IORG IO DE C HllU CO 7 AND 11E DEHAIN s HAOUL D Uf<'Y !I EH!C G ILL 10 DUNCAN G HA NT 11 .! Oll N G HEGOl\Y 12 .! EAL II GO 1 :1 PETEH ll UHD I I MOISE KISLING I ii LEON KROLL . I(> MAHI E LA URENCIN 17 f<'EH NA 'D LEGEH I S ARIST IDE MA LLLO L H> PAUL M.ANS llL P 20 ll ENIH MATISSE 2 1 !SA M U 'OGUClll . 22 G EOHG IA O'KEEf<'FE 2:J .! OSE •!AH IA SEHT 21 PAVEL T C ll E LI T C ll EW .
    [Show full text]
  • Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music May 12, 2013 - October 6, 2013
    Updated Monday, April 22, 2013 | 1:16:10 PM Last updated Monday, April 22, 2013 Updated Monday, August 15, 2013 | 3:06:10 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music May 12, 2013 - October 6, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Cat. No. 5 Henri Gervex The Coronation of Nicholas II - sketch, 1896 oil on canvas framed: 116 x 151.5 cm (45 11/16 x 59 5/8 in.) Musée d'Orsay, Paris File Name: 3413-286.jpg Malvina Hoffman The Afternoon of a Faun, modeled 1912; cast 1977 bronze height: 8 1/2 in. (21.59 cm) The Tobin Theatre Arts Fund Roger Broders Poster showing tennis at Monte Carlo, c.
    [Show full text]