The Artist
Extraits
BD tout public
The Artist. Le cycle éternel
La vie d'artiste n'est pas forcément une vie de bohème idyllique. Anna Haifisch en sait quelque chose. Artiste et autrice de bande dessinée vivant à Leipzig en Allemagne, elle a pu observer et décortiquer le microcosme des galeries, les soirées d'inauguration, les musées d'art, la vie en atelier... Et elle se sert de son expérience pour nous raconter les chroniques d'un jeune Artiste, une espèce de grand oiseau tout maigre, confronté au monde impitoyable et bien souvent absurde de l'art. Avec ce deuxième tome de THE ARTIST, Anna Haifisch continue d'explorer le monde de l'Art. Elle y dépeint les doutes et les angoisses de l'Artiste face à la création et à ses contemporains avec beaucoup d'humour et d'auto-dérision. Chacune des anecdotes sont ponctuées de clins d'oeil à de grands artistes et des oeuvres qui ont marqué l'histoire de l'art.
10/2018
Monographies
Towards the Sun. The Artist - Traveller at the Turn of the Twentieth Century
Bien qu'il y ait eu des monographies sur les artistes voyageurs britanniques du XVIIIème et du début du XIXème siècles, il n'existe aucune enquête de ce que l'écrivain Henry Blackburn décrivait de "voyage artistique" un siècle plus tard. A partir de 1900, le "Grand Touriste" est devenu un globe-trotteur muni d'un appareil photo et, malgré le développement de la photographie instantanée, l'enregistrement visuel immédiat en huile et aquarelle reste le plus répandu. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as crèches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation ? Is the street more desirable than the ancient ruin or sacred site ? How were older ideas of the 'picturesque' reborn in an age when 'Grand Tours' once confi ned to Italy, now encompassed the globe ? McConkey's wideranging survey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.
11/2021
Sculpteurs
Standing women of Venice/Femmes debout de Venise ; Standing black woman of Venice/Femme noire debout de Venise. Edition bilingue français-anglais
Barbara Chase-Riboud est sculptrice, poétesse et romancière franco-américaine. Elle vit à Paris. Elle rencontre Alberto Giacometti au tout début des années 1960. Tous deux ont tracé, au l des décennies, des parcours de sculpteurs différents - d'homme et de femme artiste aussi. Leur dialogue repose sur des points de contact : le travail de la matière et du bronze, la passion pour l'Egypte ancienne, l'écriture. Cette confrontation entre Giacometti, que l'on croit "épuré" et classique, et Chase-Riboud, "matérielle" et baroque, révèle également une commune attention passionnée à la représentation du corps. Cette exposition, première en France de Barbara Chase-Riboud depuis 1974, nous livre le regard d'une artiste sur l'oeuvre d'Alberto Giacometti avec laquelle elle entre en sympathie. Barbara Chase-Riboud is a French-American sculptor, poet and novelist. She lives in Paris. She met Alberto Giacometti in the ? early 1960s. Throughout the decades, both artists have traced different paths as sculptors - as man and woman artists too. Their dialogue rests on points of contact : the work on matter and bronze, a passion for Ancient Egypt and writing. This confrontation between Giacometti, whom one considers as "streamlined" and classical, and Chase-Riboud, "tangible" and baroque, also reveals a shared passionate attention to the representation of the body. This exhibition, the rst in France for Barbara Chase-Riboud since 1974, offers us the gaze of a woman artist on the oeuvre of Alberto Giacometti with whom she is in sympathy.
11/2021
Mouvements artistiques
The Artist Helen Coombe (1864–1937). The Tragedy of Roger Fry's Wife
This fascinating book presents the ? rst biography of Helen Coombe, a woman admired not only for her artistic skill, but also for her intellect, personality and wit. It reveals her family background and education, her place in the Arts and Crafts Movement and her outstanding artistic output. Helen Coombe was married to Roger Fry, an artist who was to achieve most fame as an art critic, historian and protagonist of the Bloomsbury Group. Soon after their marriage in 1896, she displayed symptoms of schizophrenia. After the ? rst episode, she temporarily resumed her career and had two children with Fry, but for the last thirty years of her life she was sectioned under the Lunacy Act and committed to an institution. This thoroughly researched book makes full use of archival material, including correspondence, diaries and medical records. It illuminates late Victorian and Edwardian society and culture. It throws new light, by no means all of it favourable, on Roger Fry. It is a 'must' for all interested in the Bloomsbury Group, art history, and the handling of mental illness at a time before ef ? cacious antipsychotic drugs were available.
11/2023
Monographies
Hilma af Klint. The Five Notebook 1
In 1896, Hilma af Klint and four other like-minded women artists left the Edelweiss Society and founded the "Friday Group", also known as "The Five". They met every Friday for spiritual meetings, including prayers, studies of the New Testament, meditation and séances. The medium exercised automatic writing and mediumistic drawing. Eventually they established contact with spiritual beings whom they called "The High Ones". In 1896, the five women began taking meticulous notes of the mediumistic messages conveyed by the spirits. In time, Hilma af Klint felt she had been selected for more important messages. After ten years of esoteric training with "The Five", aged 43, Hilma af Klint accepted a major assignment, the execution of The Paintings for the Temple. This commission, which engaged the artist from 1906 to 1915, changed the course of her life. In 1908, Rudolf Steiner, leader of the German Theosophical Society, held several lectures in Stockholm. He also visited af Klint's studio and saw some of the early Paintings for the Temple. In 1913, Steiner founded the Anthroposophical Society, which af Klint joined in 1920 and remained a member for the rest of her life.
01/2022
Thèmes picturaux
Coron' Art. Deux ans de crise sanitaire en peinture
Depuis Mars 2020, j'ai décrit avec mes peintures, parfois avec anticipation, ma vision de la gestion politique de la pandémie de coronavirus en France et ses effets sur l'ambiance de la société, que j'estime en déclin ou décadente. Les Moaï étant les témoins du déclin d'une civilisation quasiment anéantie (les Matamua), j'ai choisi de les mettre en scène pour m'exprimer sur le sujet et permettre à l'observateur de faire le pont entre le déclin d'une ancienne civilisation, et sa propre civilisation. Ce livre expose dans l'ordre chronologique l'ensemble des peintures réalisées pendant cette période, de Mars 2020 à 2022.
11/2022
Histoire internationale
One Artist on Five Continents
Elisabet Delbrück (1876-1967) was one of a number of Germans who came to New Zealand in the late 1930s. Unlike most, she had not intended to emigrate but was touring the country when World War II broke out. She was at first forbidden to leave and then chose to remain in Wellington. Her thirty years in Mahina Bay on Wellington harbour had a profound effect on all who knew her. This study aims to discover why she was so remarkable. It explores her early life, her marriage into a prominent German family and her qualification as an artist. She turned this into a profession, teaching and exhibiting on five continents in the 1920s and 1930s. She always travelled alone, observing the customs and beliefs of the people she met. In Australia and New Zealand in 1938 and 1939 she was wrongly suspected of spreading Nazi propaganda. Her story is also the story of a heroic group of Wellingtonians who helped her in the 1940s and valued her friendship till her death.
12/2011
Ecrits sur l'art
Seeing loud. Basquiat and music
During the late 1970s and early 1980s, New York City was financially and socially bankrupt, but the art and music scene was flourishing. During these years, the downtown New York music scene - no wave, hip-hop, disco funk and club culture - shaped Jean-Michel Basquiat as both a musician and an artist. This catalog for a traveling exhibition explores how Basquiat's painting has parallels in his music (sampling, cut-up, rapping), and takes a new look at his production as a writer and a poet in light of his connections with the then-emerging hip-hop culture. This beautifully illustrated exhibition catalog of rarely seen photographs and images sheds new light on Basquiat as a musician, exploring how his art and music are related, and how they reflect on his identity as a Black artist in the United States, the downtown New York music scene, and contemporary culture.
08/2023
Lecture 6-9 ans
L'énigme du sabre. Edition bilingue français-anglais
C'est dimanche et comme souvent Louise et Arthur viennent rendre visite à leur grand-mère. Ils aiment bien y aller, elle joue avec eux et leur raconte plein d'histoires. Mais aujourd'hui, elle n'a pas le temps et les deux cousins s'ennuient. Alors, ils décident de grimper dans le grenier où sont entreposés de vieux souvenirs et objets abandonnés. Ils y ont déjà été, mais maintenant ils sont plus grands et peut-être trouveront-ils un trésor qu'ils n'avaient pas aperçu, lors de la dernière visite. Après un long moment de recherche, dans un coin, Louise découvre une malle poussiéreuse. Les deux cousins, l'ouvrent et entrevoient un sabre avec une inscription. Une trouvaille qui va les mener jusqu'à l'école militaire de Saint Cyr de Coëtquidan, sur les traces de leur grand père. It's a Sunday and often as not, Louise and Arthur go and visit their grandmother. They like to go there, she plays with them and tells them lots of stories. But this Sunday she does not have the time, so the two cousins are bored. They decide to climb up into the attic, where old memorabilia and abandoned objects are stored. They have been there before, but now that they are taller, maybe they will find a treasure they did not see during their last visit. After a long moment of searching, in a corner, Louise discovers a dusty trunk. The two cousins open it and see a sword with an inscription. A discovery that will lead them to the military school at Saint Cyr de Coëtquidan, in the footsteps of their grandfather.
06/2018
Anglais apprentissage
Lectures de A portrait of the Artist as a Young Man James Joyce
Roman de formation, autofiction, le Portrait de l'artiste jeune homme est une oeuvre clé du XXe siècle, et de la modernité en son ensemble. Deuxième par ordre chronologique des quatre monuments qu'a laissés Joyce, il a constitué une véritable révolution littéraire en mettant l'écriture elle-même au centre du processus de formation de l'artiste; l'écriture du Portrait en effet reproduit de façon mimétique l'évolution de son jeune héros, Stephen Dedalus. Portrait retouché, très ironique, de Joyce jeune par lui-même, le roman est à la fois un credo artistique et un manifeste politique. Etat des lieux d'une Irlande encore colonie britannique, ce portrait sans illusions est aussi celui d'une ville, Dublin, que Joyce qualifiait depuis Dubliners de " centre de la paralysie " et, au-delà, celui de la nation irlandaise tout entière à laquelle Joyce l'exilé volontaire voua toute sa vie un amour aussi ambivalent et douloureux qu'indéfectible. Comme le dit Stephen dans une de ses célèbres formules lapidaires: " Ireland is the old sow that eats her farrow ". Ces lectures, qui font le point sur les principaux enjeux littéraires, esthétiques et historiques du Portrait, ont pour ambition de faire découvrir - ou redécouvrir - aux étudiants anglicistes ce texte fondamental de notre culture contemporaine.
01/2010
Poésie
Footsteps
An artist's book, born from the collaboration between Irish writer Bernie Murphy and french artist Karin Tueta , inspired by the landscape and people of the city of Hyères, in the south of France Un livre d'artiste né de la collaboration entre l'écrivaine irlandaise Bernie Murphy et l'artiste française Karin Tueta, inspiré par les paysages et les habitants de Hyères les Palmiers. Bernie Murphy manie les mots avec magie et passion. Sa sensibilité a trouvé écho dans le travail pictural de karin Tueta. Elles évoquent dans ce livre poétique la beauté des paysages de Hyères mais aussi la difficulté de vivre cette année 2021.
04/2022
Monographies
Gustave Moreau. The Fables
Gustave Moreau (1826-1898) is one of the most brilliant and enigmatic artists associated with the French Symbolist movement. This book accompanies an exhibition of some of the most extraordinary works he ever made, unseen in public for over a century. Moreau's watercolours of the Fables of Jean de La Fontaine (1621-1695) were created between 1879 and 1885 for the art collector Antony Roux and their stylistic range encompasses historicism and the picturesque, orientalist fantasies and near-abstract chromatic experiments. They were exhibited to great acclaim in Paris in the 1880s and in London in 1886, where critics compared the artist to Edward Burne-Jones. One critic commented on Moreau's ' keen apprehension of the weird. ' There were originally 64 works in the series, which was subsequently acquired by Miriam Alexandrine de Rothschild (1884-1965), but nearly half were lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white. This book is the first to reproduce them in colour - many shown actual size. Created at the height of the French 19th-century revival of watercolour, the variety of subject matter and technique, their colouristic effects and the sophistication of Moreau's storytelling, will be a revelation to readers. Preparatory drawings for the Fables, including animal studies made from life in the Jardin des Plantes demonstrate the wide-ranging research that informed Moreau's visions. Prints after Moreau's Fables by Félix Bracquemond (1833-1914) translate the jewel-like colours into monochrome in some of the most innovative etchings of the age, while the most delicate effects of the watercolours were also transformed into vitreous enamels. In-depth accounts of each watercolour, explaining the story and exploring Moreau's response to it. The introduction will place the series in the long history of illustrations of La Fontaine's canonical work, whose sources include Aesop's fables and traditional European and Asian tales, as well as considering Moreau in the context of his own, turbulent, times.
08/2021
Littérature érotique et sentim
The elements Tome 1 : The air he breathes
Tout le monde m'avait avertie au sujet de Tristan Cole. "Garde tes distances avec lui", me disait-on. "Il est cruel, il est froid, il est bousillé". C'est facile de juger un homme sur son passé. De regarder Tristan et de voir en lui un monstre. Mais je n'ai pas pu réagir de la sorte. J'ai reconnu la désolation qu'il portait parce qu'elle était comparable à celle qui m'habitait, et je l'ai acceptée. Lui et moi, nous étions des coquilles vides. Nous étions tous deux à la recherche d'autre chose. De quelque chose de plus. Nous voulions tous deux recoller les morceaux éparpillés de nos passés respectifs. C'était peut-être la condition pour que nous puissions finalement réapprendre à respirer.
Roman d'amour, roman sentiment
The Elements Tome 1 : The air he breathes
THE AIR HE BREATHESThe Elements livre 1Retrouveront-ils goût à la vie ? Premier volume d'une série de 4 titres de Brittainy Cherry, 4 standalones qui se lisent de manière indépendante, dont chaque volume correspond aux 4 éléments de l'univers : l'air, le feu, l'eau, et la terre. The Air He Breathes #1 (L'air)Fire Between High & Lo #2 (Le Feu)The Silent Waters #3 (L'eau)The Gravity of Us #4 (La terre) Tout le monde m'avait avertie au sujet de Tristan Cole. Garde tes distances avec lui me disait-on. Il est cruel. Il est froid. Il est bousillé. C'est facile de juger un homme sur son passé. De regarder Tristan et de ne voir en lui qu'un monstre. Mais je n'ai pas pu réagir de la sorte. J'ai reconnu la désolation qu'il portait parce qu'elle était comparable à celle qui m'habitait et je l'ai acceptée. Lui et moi nous étions des coquilles vides. Nous étions tous deux à la recherche d'autre chose. De quelque chose de plus. Nous voulions tous deux recoller les morceaux éparpillés de nos passé respectifs. C'était peut-être la condition pour que nous puissions finalement réapprendre à respirer. " Certains auteurs vous murmurent directement au coeur, et leurs mots ne vous quittent plus jamais. Brittainy C. Cherry en fait partie. On ne résiste pas au charme de The Air He Breathes. " San Francisco Chronicle
03/2024
Littérature française
Presque une nuit d'été
Un premier roman plein de fraîcheur où une jeune photographe cherche à saisir les beautés éphémères du quotidien. Elle suit un inconnu qui rentre chez lui avec ses courses, discute dans un bus avec un employé noctambule, observe une mère portant son bébé sur le dos… Et, surtout, elle fait la rencontre d'une vieille dame énigmatique et de l'insaisissable Joh. Au fil de ses promenades, notre héroïne convoque des souvenirs personnels, recueille des histoires intimes, pleines d'humanité et de courage, mais aussi des récits plus extravagants ou merveilleux. On suivra ainsi les aventures d'un jeune expatrié dans les bas-fonds d'une ville vietnamienne, le combat d'Ibtissem pour échapper à l'emprise de sa famille, le tragique destin de Tsukuyomi, dieu de la Lune banni du royaume céleste, ou encore les errances du fantôme de Yoru à la recherche de sa sœur perdue…
08/2018
Sciences politiques
The Structure of Political Communication in the United Kingdom, the United States and the Federal Republic of Germany
Political Communication in The United Kingdom, the United States and the Federal Republic of Germany differs in terms of what the peoples expect to take issue with, how they are prepared to talk about them, which choices they can make to solve problems and, finally, whom or which organizations they delegate to resolve them. This comparative media study of The Economist, Time and Der Spiegel attempts to extract the differences in politics of the three societies.
11/1987
Décoration
The New Tattoo
Tattoos are everywhere-especially where they are least expected. Once the specialty of bikers and sailors, they now are frequently spotted in art galleries, fashion shows, and even corporate boardrooms. "Mom-in-a-heart" has been replaced by striking monochromatic patterns; intricate reproductions of famous artworks; elaborate mythical beasts and deities; and the oddly unclassifiable (the innards of a video camera, a monolithic black wedge). This sophisticated look at the latest high-style skin decorations, created by the most creative contemporary tattoo artists, is divided into five chapters: Tribal; Paintings, Prints, and Portraits; Imagination and Fantasy; Neotraditional; and All the Rest. A lively introduction provides a cogent history of tattooing through the ages, making clear that the compulsion to personalize the body has characterized humanity throughout recorded history. Concluding the introduction is an informative evaluation of how the tattoo scene has changed since the "tattoo renaissance" that began in the 1960s and has culminated in today's heady mix of inventive old masters and young artschool-trained hotshots. An invaluable appendix gives answers to the questions anyone should ask before getting a tattoo, including: How Is a Tattoo Made? Is It Safe? How Do I Find the Right Tattoo Artist? How Do I Pick the Right Design? How Much Will It Cost? How Long Does It Take? What Maintenance Does a Tattoo Require? Can 1 Get Rid of It?
01/1994
Monographies
Olia Lialina - Net Artist
Cette première monographie (français/anglais) de l'artiste internationale pionnière du net art permet de (re)découvrir cette pratique artistique toujours contemporaine, nous invitant à plonger dans les spécificités du médium internet (flux, URL, protocoles, etc.), et esquissant une archéologie des médias. Publié à l'occasion de l'exposition "Olia Lialina, Something For Everyone" à l'Espace Multimédia Gantner, Bourogne, du 12 septembre au 22 novembre 2020.
10/2020
Mouvements artistiques
Frank Auerbach. The Charcoal Heads
Accompanying an exhibition at the Courtauld Gallery, London, Frank Auerbach : The Charcoal Heads presents a remarkable series of hauntingly beautiful largescale drawings by the artist. The catalogue includes a new piece of writing on one of the drawings from critically acclaimed novelist Colm Tóibín. This catalogue explores one of Frank Auerbach's most remarkable bodies of work - a series of large-scale portrait heads made in charcoal, produced during his early years as a young artist in postwar London. Auerbach (b. 1931) spent months on each drawing, working and reworking them during numerous sessions with his sitters. This prolonged and vigorous process of creation is evident in the finished drawings, which are richly textured and layered. Auerbach would sometimes even break through the paper and patch it up before carrying on. His heads thus emerge from the darkness of the charcoal with burning vitality, born of an artistic as well as a physical struggle with the medium. The process of repeated creation and destruction, of which these images bear the visible scars, speaks profoundly of their times, as people rebuilt their lives after the ruination and upending of the war. The exhibition will be the first time Auerbach's extraordinary drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group. They will be shown together with a selection of paintings he made of the same sitters ; for the artist, painting and drawing have always been deeply entwined. The accompanying catalogue - by Deputy Head of The Courtauld Gallery, Barnaby Wright, and with an essay by one of the greatest contemporary voices in the English language, Colm Tóibín - is the first publication to explore in depth this magnificent series. Tóibín spent several hours one afternoon in front of Auerbach's Self-Portrait (1958), which features on the front cover of the book, looking closely and taking notes. His essay is an account of his experience and offers new insights into the work and the nature of self-portaiture.
03/2024
Décoration
Living in Mexico. Edition français-anglais-allemand
Barbara & René Stoeltie both began their careers as artists and gallery owners. With René as photographer and Barbara as writer, they have been collaborating on interior design articles since 1984, contributing to such influential magazines as Vogue, The World of Interiors, AD, Elle, House and Garden, Country Living and House Beautiful. The editor : Angelika Taschen studied art history and German literature in Heidelberg, gaining her doctorate in 1986. Working for TASCHEN from 1987 to 2010, she has published numerous titles on art, architecture, photography, design, travel and lifestyle.
09/2021
Anglais apprentissage
LA VIERGE ET LE GITAN : THE VIRGIN AND THE GIPSY
When the vicar's wife went off with a young and penniless man the scandal knew no bounds. Her two little girls were only seven and nine years old respectively. And the vicar was such a good husband. True, his hair was grey. But his moustache was dark, he was handsome, and still full of furtive passion for his unrestrained and beautiful wife. Why did she go ? Why did she burst away with such an éclat of revulsion, like a touch of madness ? Nobody gave any answer. Only the pious said she was a bad woman. While some of the good women kept silent. They knew. The two little girls never knew. Wounded, they decided that it was because their mother found them negligible. The ill wind that blows nobody any good swept away the vicarage family on its blast. Then lo and behold ! the vicar, who was somewhat distinguished as an essayist and a controversialist, and whose case had aroused sympathy among the bookish men, received the living of Papplewick. The Lord had tempered the wind of misfortune with a rectorate in the north country. [...] "Lorsque la femme du pasteur s'enfuit avec un jeune homme sans le sou, le scandale ne connut pas de bornes. Ses deux fillettes n'avaient que sept et neuf ans respectivement. Et le pasteur était un si bon mari. Certes, il avait les cheveux gris, mais sa moustache était restée noire, il était bel homme et brûlait encore d'une passion furtive pour sa belle épouse immodeste. Pourquoi était-elle partie ? Pourquoi s'était-elle arrachée à lui, dans un tel éclat de dégoût, comme un grain de folie ? Personne n'apporta de réponse. Seules, les dévotes dirent que c'était une mauvaise femme. Cependant que certaines femmes de bien gardaient le silence. Elles comprenaient, elles. Les deux fillettes ne comprirent jamais. Blessées, elles jugèrent que c'était parce que leur mère les tenait pour quantité négligeable. Le vent du malheur qui est censé être bon à quelque chose balaya de son souffle les habitants de la cure. Puis, miracle, le pasteur, qui avait une certaine éminence comme essayiste et polémiste, et dont la situation avait su émouvoir certains intellectuels, fut nommé à la paroisse de Papplewick. Le Seigneur avait adouci l'ouragan du malheur par un bénéfice de recteur dans le nord du pays. " [...]
02/1993
Histoire et Philosophiesophie
The Undergrowth of Science. Delusion, self-deception and human frailty
Walter Gratzer's themes in the stories he relates in The Undergrowth of Science are collective delusion and human folly. Science is generally seen as a process bound by rigorous rules, which its practitioners must not transgress. Deliberate fraud occasionally intrudes, but it is soon detected, the perpetrators cast out and the course of discovery barely disturbed. Far more interesting are the outbreaks of self-delusion that from time to time afflict upright and competent researchers, and then spread like an epidemic or mass-hysteria through a sober and respectable scientific community. When this happens the rules by which scientists normally govern their working lives are suddenly suspended. Sometimes these episodes are provoked by personal vanity, an unwillingness to acknowledge error or even contemplate the possibility that a hard-won success is a will o' the wisp; at other times they stem from loyalty to a respected and trusted guru, or even from patriotic pride; and, worst of ail, they may be a consequence of a political ideology which imposes its own interpretation on scientists' observations of the natural world. Unreason and credulity supervene, illusory phenomena are described and measured, and theories are developed to explain them - until suddenly, often for no single reason, the bubble bursts, leaving behind it a residue of acrimony, recrimination, embarrassment and ruined reputations.
Here, then, are radiations, measured with high precision yet existing only in the minds of those who observed them; the Russian water, which some thought might congeal the oceans: phantom diseases which called for heroic surgery; monkey testis implants that restored the sexual powers of ageing roués and of tired sheep; truths about genetics and about the nature of matter, perceptible only to Aryan scientists in the Third Reich or Marxist ideologues in the Soviet Union; and much more. The Undergrowth of Science explores, in terms accessible to the lay reader, the history of such episodes, up to our own time, in ail their absurdity, tragedy and pathos.
01/2000
Poésie
Epilepsy: the invisible pain
They say life is a long stretch of a calm river, but not for everyone ! She was for me until the day when everything rocked, the day my destiny was changed dramatically. People do not realize how life can be so sweet and so beautiful. They complain all day long for trivialities. They are not even aware that they have before their eyes the most beautiful wealth : the luck and happiness of living in good health. I was rich before. Now I am poor because my child has an incurable disease, that has currently no hope of being healed. As a parent, how can we accept that ? , How to continue living carrying the bundle of pain in my head ? , How to overcome this feeling of helplessness ? When I started speaking to my heart, I didn't know myself that this was the beginning of a new life : a rebirth as a poet. When I learnt that my 7-year-old daughter was suffering from the Dravet Syndrome, a rare genetic epileptic encephalopathy, this was like an earthquake in my life. Then, I needed to write in order to express my sorrow and my pain. Words and rhymes came naturally to my mind. This was obvious that poetry would be my survival weapon.
01/2019
Policiers
L'artiste
2001. Les nuits parisiennes voient naître un nouveau monstre. Un serial killer s'en prend aux artistes, transformant chacune de ses scènes de crime en oeuvre mêlant esthétisme et barbarie. L'inspecteur Heckmann, flic vedette du moment, se retrouve en charge de cette très médiatique affaire et se lance dans la traque. Mais bientôt il lui semble que tous ces crimes ne sont qu'un moyen pour le tueur de jouer avec lui... Avec ce roman policier, Antonin Varenne révèle une fois de plus son incroyable talent à nous entraîner dans une course infernale où ses personnages doivent lutter contre leurs propres démons autant que contre le fracas du monde.
09/2019
Couple, famille
Bordeaux-artiste
Bordeaux-artiste... / [par Charles Monselet] Date de l'édition originale : 1855 Le présent ouvrage s'inscrit dans une politique de conservation patrimoniale des ouvrages de la littérature Française mise en place avec la BNF. HACHETTE LIVRE et la BNF proposent ainsi un catalogue de titres indisponibles, la BNF ayant numérisé ces oeuvres et HACHETTE LIVRE les imprimant à la demande. Certains de ces ouvrages reflètent des courants de pensée caractéristiques de leur époque, mais qui seraient aujourd'hui jugés condamnables. Ils n'en appartiennent pas moins à l'histoire des idées en France et sont susceptibles de présenter un intérêt scientifique ou historique. Le sens de notre démarche éditoriale consiste ainsi à permettre l'accès à ces oeuvres sans pour autant que nous en cautionnions en aucune façon le contenu.
07/2020
Policiers
L'artiste
Dans la ville portuaire de La Rochelle, belle et rebelle, la vie est paisible et intense à la fois. Baignée par l'océan, cette cité historique est riche pour les sens et se prête facilement aux passions. C'est dans ce contexte idyllique qu'une série de crimes odieux va bousculer les habitants jusqu'à provoquer une vague de panique sans précédent. Le commissaire Brocart et son équipe vont avoir fort à faire pour comprendre, traquer et peut-être stopper cette série noire. Y arriveront-ils ? Signe particulier des victimes : des jeunes femmes, proies faciles. Signe particulier des crimes : ils sont conçus comme des oeuvres d'art. Le commissaire devra faire appel à son infaillible flair mais aussi à l'analyse poussée des scènes de crime et à la compréhension précise des indices formels.
07/2017
Milan
L'artiste
Qu'est-ce qu'un artiste ? A travers cet album sensible et coloré, l'auteur britannique Ed Vere tente de répondre à cette question grâce aux aventures d'une petite dinosaure éprise de liberté et d'envie de créer, qui souhaite partager sa vision du monde à l'aide de ses crayons, feutres et pinceaux... ` L'art et la liberté Un livre sur la liberté d'imaginer, de dessiner, de rêver... et aussi sur les doutes de l'artiste. Une façon de montrer aux enfants que l'art est partout et qu'il faut laisser s'exprimer son imagination, avoir confiance en soi et en ses désirs, et ne pas se laisser dépasser par ses échecs. Le choix des couleurs Toute l'énergie et la créativité de la petite artiste jaillissent à travers la couleur apportée sur les murs uniformes de la ville. Au fil des pages, l'auteur traduit dans ses dessins les sentiments de la petite dino. Ainsi, l'univers s'assombrit quand elle croit avoir fait une erreur, et retrouve toutes ses couleurs lorsqu'elle retrouve le goût de peindre et de dessiner !
03/2024
Monographies
Luigi Pericle : A Rediscovery
This important book presents the work of the fascinating and singular artist Luigi Pericle (1916-2001). Pericle was a painter, illustrator and scholar, as well as a leading figure in the story of art in the second half of the twentieth century. The artist initially found fame as an illustrator, gaining widespread renown in the 1950s as the inventor of the character Max the Marmot. But his intense, enigmatic and multi-layered paintings increasingly drew the attention of the art world, with works that reflect his personal, metaphysical take on post-war abstraction exhibited at numerous venues in Britain during the 1960s. Pericle then abruptly retreated from the art system, and for the rest of his life continued to paint, write and to study esoteric philosophy in the secluded house he shared with his wife Orsolina on Monte Verit in the Ticino region of Switzerland. The artist's work was dramatically rediscovered in 2016 when the contents of his former residence were revealed. The process of restoring, cataloguing and researching his vast oeuvre is ongoing, and is overseen by Ascona's Archivio Luigi Pericle, with which the exhibition has been organised. This beautifully illustrated publication, which accompanies an exhibition at the Estorick Collection, London, includes a full catalogue of the works, as well as essays by noted scholars.
10/2022
Monographies
Fuseli and the Modern Woman. Fashion, Fantasy, Fetishism
This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puffed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page ; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fifty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.
12/2022
Musique classique
Songs of Love. 12 Romances. 12 Lieder. Soprano (tenor) and piano.
Leokadiya Kashperova (1872-1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. Songs of Love was first published in 1904. No evidence survives of any public performance in Kashperova's lifetime although it is very likely that they were performed at her regular 'musical evenings at home on Tuesdays' mentioned in her Memoirs. The transparency of the piano writing strongly suggests that she would accompany herself singing. Kashperova, by all accounts, possessed a fine voice, and in the summer of 1906 she decided 'to learn from the artistry', as she put it, of the tenor Raimond von Zur-Mühlen who was widely celebrated for having developed (with Clara Schumann) the Lieder-Abend tradition. His summer-schools on the Baltic coast were frequented by aspiring singers from all over Europe, even Japan and India. Kashperova herself was responsible for the poetic lyrics of Songs of Love (in both Russian and German), which may well have emerged from her own bittersweet experience of life and love ; she was not to marry until 1916 at the age of forty-four. That Kashperova is the author of both the music and the lyrics of Songs of Love would suggest that they express very personal sentiments. Instrumentation : soprano (tenor) and piano
12/2023
