One has just been sent out as a biblical dove, has found nothing green, and slips back
into the darkness of the ark -- Kafka

Sunday, June 30, 2013

Felix de Beaujour

Louis Félix-Auguste-Beaujour, (Louis-Auguste Feris) (born 28 December 1765 Callas, Var - July 1, 1836 Paris) was a French diplomat, politician, historian, and French ambassador to the United States.
He studied in Aix-en-Provence and Paris, and entered the diplomatic service. He was successively secretary of legation in Munich in 1790, and Dresden in 1791, then consul general in Greece in 1794, and Consul General in charge of business in Sweden in 1799.

Back in France in 1800, Abbe Sieyes, appointed him a member of the Tribunat, where he was successively secretary and president of the Tribunat in 1803. Upon the dissolution of the assembly, he went to the United States as Commissioner General, with a mission to raise the money for the French government, that had been delegated to Mexico, by Spanish subsidies. After consul general in Washington from 1804 to 1811, he returned to France in 1814. Talleyrand made him Consul General in Smyrna in 1816, then Inspector General of the French Establishments in the Levant in 1817. In 1818, Louis XVIII gave the title of baron, and he then changed his name (Feris) to (Félix).

He was then deputy of the Bouches-du-Rhône from 1831 to 1834, and a peer of France in 1835. In 1836, he was elected member of the Academy of Moral and Political Sciences. He founded a five-year prize, called the Felix Beaujour Awards, and awarded for the first time in 1832, awarded by the Academy, to the author of the best book on how to prevent or alleviate poverty.[1]

The tomb of Félix de Beaujour in Père Lachaise Cemetery, is a 20-meter high chimney-shaped tower.[2][3]


To, from, and in Pere Lachaise

Pere Lachaise was close enough to our 3rd hotel that I didn't have to take a Metro. Besides I wanted to walk: see things along the way. I woke early--even Mickey D's was closed on the corner--and walked in cool, on-and-off-rain. Had forgot to check when it opens (I was off an hour plus). OK, I had a couple coffees and a pain aux raisin. Kept dry by sitting at a busstop; kept warm by pacing over a vent.

I only wanted three biggies (de Nerval, Balzac, Proust) and Aux Morts: I  got that and a little more.



PAINS aux RAISINS by Mary.Do
PAINS aux RAISINS, a photo by Mary.Do on Flickr.
My preferred breakfast fare.

Pain aux Raisins

Pain aux raisins (French pronunciation: ​[pɛ̃ o rɛ.zɛ̃]), is a breakfast food often eaten in France that is directly translated to raisin bread. It is also colloquially known as snail bread in Australia. Pain aux raisins is a member of the pâtisserie viennoise family of baked foods.

In France, it is typically a variant of the croissant or pain au chocolat, made with a leavened butter pastry with raisins added and shaped in a spiral with a crème pâtissière filling. However, in many areas of Northern Europe and North America, it is generally made with sweetened bread dough or brioche dough, rather than pastry. It is often consumed for breakfast as a part of a Continental breakfast.

[From Wikipedia:]

The Louvre

Here are a few more images we saw in and around the Louvre (I didn't shoot the Mona--though she always tries to me--because I was making a worthless gesture: I didn't want to be like the mob of trophy hunters and/or perspiring Waldos):


Saturday, June 29, 2013

Pistoletto in the Louvre

Not knowing him (and yet "tickled" by some of what I saw), I "sampled" some of his work in the Louvre.


Michelangelo Pistoletto (1933 - )

Michelangelo Pistoletto (born 25 June 1933) is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.


Pistoletto was born at Biella.
From 1947 until 1958, Pistoletto worked in his father’s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.
In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto’s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the USA, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paolo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called "Zoo Group", which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto’s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life.[2] Pistoletto is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York.

Arte Povera[edit]

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of "art" and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of "post-pop art" and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L'uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the USA in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.

Cittadelarte – Fondazione Pistoletto[edit]

In 1994, Michelangelo Pistoletto proclaimed his programme Progetto Arte, whose aim was the creative and social economic unification of all parts of human existence; in a narrower sense, the systematic combination of all achievements and knowledge of civilisation with aspects of art (e.g. fashion, theatre, design, etc.). In 1996, he founded the art city Cittadelarte – Fondazione Pistoletto in a discarded textile factory near Biella, as a centre and "laboratory", supporting and researching creative resources, and producing innovative ideas and possibilities. The Cittadelarte is divided into different Uffici/Offices (work, education, communications, art, nutrition, politics, spirituality, and economics), which exchange with each other within an intermedial network. Although it is conceived as a closed system, transparency towards the outside world is an important aspect of the Cittadelarte.[3]

Mirror Paintings[edit]

Pistoletto' s Mirror Paintings are artworks made of human size mirrors. Using these mirrors as basic material, he paints figures or prints photographic images on them. First Mirror Paintings were created in the early sixties.[4] The printed subjects show a broad spectrum of motives: for example self portraits, pictures from gallery visitors or objects of daily life.[5]
A central role is given to the spectator. His mirrored picture seems to get in interaction with the printed motive. In some way the viewer becomes part of the artwork. This phenomenon is relevant especially in time of European Student activism. Every individual spectator becomes active while regarding the artwork. This central position of the visitor could motivate him to become active also in other parts of society, which matches the ideas of the Gesamtkunstwerk.
PIstoletto is quoted saying, “In my mirror-paintings the dynamic reflection does not create a place, because it only reflects a place which already exists- the static silhouette does no more than re-propose an already existing place. But I can create a place by bringing about a passage between the photograph and the mirror: this place is whole time.”[6] The previous quote enlightens the reader on Pistoletto's attempt to, in 1964 at the Galleria Sperone, work on bringing the meaning of the mirror out into the inhabited space surrounding it. The simultaneous representation of traditional dimensions and of reality in motion reveal the new dimensions of the mirror-paintings.[7]

[From Wikipedia:]

Metro Token to Man Ray


Man Ray (1890–1976). Observatory Time—The Lover, c. 1931; colorphotograph, 1964

His lips.

Man Ray: Dancer/Danger

Something I forgot from the Pompidou: