Carnets ou orages? Lapeyre ou Duris?

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Nicole Stephane/ elle me disait

Bon. On a des belles fenêtres.

Le gars était très sympa, a fait des photos avec le Molière dans les bras, avec R. Avec R. et le Molière et les deux tenant le Molière. Il a été en classe avec Romain Duris en seconde dit-il. « Un fou furieux, il était dingue!!!« Et moi j’ai le Molière du poseur de fenêtre de chez Lapeyre, c’est pas mal non plus !

C’est drôle. J’ai actualisé un peu mon site et glandé ici et là sur le net, vu ce « livre de sang », scrapbook magnifique, ai rôdé autour de Delphes et de la Pythie de la Sybille, autour de Ossola au Collège ( voix douce ) et j’ai abandonné, ( c’est très intéressant mais…), autour de la 3D et j’ai abandonné et autour, bizarrement d’Ernst Junger et malgré une conférence lue ce que je n’aime pas beaucoup car c’est souvent chiant, j’ai écouté.( Julien Hervier ).

Bon demain ça suffit l’ordi. Argenteuil et peinturlure moche.


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Evelyn Waugh, whose manuscripts and 3,500-volume library are now at the Harry Ransom Center, University of Texas at Austin, was an inveterate collector of things Victorian (and well ahead of most of his contemporaries in this regard). Undoubtedly the single most curious object in the entire library is a large oblong folio decoupage book, often referred to as the « Victorian Blood Book. »

Its decoupage was assembled from several hundred engravings, many taken from books of etchings by William Blake, as well as other illustrations from early nineteenth-century books. The principal motifs are natural (birds, animals, and especially snakes) and Christian (images of the crucifixion, scenes from the Bible, and crusaders). Drops of red india ink and extensive religious commentary have been added to many of the images. The craftsmanship is exquisite, and after more than 150 years, the adhesion of the decoupages is still perfect. The book bears an inscription by one John Bingley Garland to his daughter Amy and dated September 1, 1854: « A legacy left in his lifetime for her future examination by her affectionate father. » Shortly afterwards, she married the Reverend Richard Pyper, so the album was probably an early wedding present. A 2008 Maggs Brothers catalog includes a group of eccentric decoupages taken from one or more albums, described as being in the style of the Pre-Raphaelite artist Edward Burne-Jones. The style and content of these works, which feature groups of angels and blue or gold doves, are aptly described as « weird » and « rather elegant but very scary. » They are unmistakably from the same hand as the Waugh book.

The existence of other such items suggests some kind of mass production, yet internal evidence indicates otherwise. John Bingley Garland was a prosperous Victorian businessman who moved to Newfoundland, went on to become speaker of its first Parliament, and returned to Stone Cottage in Dorset to end his days. A document still in the Garland family bears the same sanguinary ornamentation along with his signature. J. B. Garland’s will mentions in passing « all the mythological paintings in the Library purchased by me in Italy »—perhaps a small clue to his artistic interests? Most importantly, the inscriptions in the dedication and the text are in the same hand. In recent years scholarship has focused on the significance of Victorian scrapbooking, which was almost exclusively the province of women. Scrapbooking was largely a means of organizing newspaper clippings and other information; the esthetic aspect was entirely secondary. In the lack of any information to the contrary, this apparently conventional paterfamilias must be regarded as the principal, if not the only, begetter of the decoupage, and if it was his alone, he must have spent hundreds of hours at the task.

How does one « read » such an enigmatic object?

We understandably find elements of the grotesque and surreal. But our eyes view it differently from Victorian ones. As Garland’s descendants have written, « our family doesn’t refer to…’the Blood Book;’ we refer to it as « Amy’s Gift » and in no way see it as anything other than a precious reminder of the love of family and Our Lord. »

The first plate contains a short table of contents and the title « Durenstein! » (Dürenstein, the Austrian castle in which Richard the Lionhearted was held captive). The title and the theme of many of the plates relates to the spiritual battles encountered by Christians along the path of life and the « blood » to Christian sacrifice. According to the Garland family, « it is full of symbols of both Human and Non-Human ‘Crusaders and Protectors’ of God and Christianity and most of the Verses, Quotes, etc are encouraging one to turn to God as our Saviour. »


Levée tôt car ils viennent changer les fenêtres. Finir. J’ai comme l’impression que je ne vais voir personne.

Pluie que j’entends berk. Nan les voilà.

Le site du Vittoriale de d’Annunzio est super moche mais le lieu est étonnant. Hier après le RV, soudainement creuvée.

Je repicore des livres au lieu de sagement les terminer. C’est une maladie ça. Me voici dans je ne sais quels oracles delphiques. Tiens je vais aller voir ce qu’on en dit.

( Entre temps, le type des fenêtres qui est très sympa se fait photographier avec le Molière de R. )

After the Reformation the successful painter Paul Lautensack (1477/78-1558) dedicated himself to spreading revelations on the nature of God. Lautensack was besides Dürer the only German artist who wrote against the iconoclasts, and he believed that he as a painter could explain the images of Revelation better than theologians like Luther. He presented his insights in hundreds of highly sophisticated diagrams that display a wide range of material accessible to an urban craftsman, from the vernacular Bible to calendar illustrations. This study is the first monograph on this extraordinary man, it presents a Corpus of his surviving works, analyzes his peculiar theology of the image and locates the elements of his diagrams in the visual world of the Reformation period.

This digital collection consists of ten scrapbooks owned by the legendary escape artist Harry Houdini (1891-1926).

Included are playbills, theater programs, clippings, photographs, prints, correspondence, and other materials dating from ca. 1850 to the 1920s.

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