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parcos-melisa · 2 years

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The best Montblanc Perfume for Men

The brand Montblanc is most known for watches, jewellery, writing tools, and perfumes. The brand was first launched in the year 1906, when two men, August Eberstein and Alfred Nehemias, came together and started producing handmade pens. Montblanc entered the world of perfumes in the year 2001 with the launch of their first perfume for men, ‘Presence Eau De Toilette’. Over the years, the brand has created many perfumes in collaboration with eminent perfumers like Antione Maisondieu, Corinne Cachen, and Oliver Pescheux.

This article will look at some of the best Montblanc Perfume for Men.

Best Montblanc Perfume for Men

Montblanc Explorer Eau De Perfume

The captivating Explorer Eau De Perfume was launched in the year 2019. The Explorer, as the name suggests, is for outdoor men. The fragrance is ideal for spring, summer, and autumn days. It has a woody aroma mixed with spicy bergamot, clary sage, and pink pepper. The overall performance of the outdoor perfume is very good and has a longevity of 4 to 6 hours.

Top notes of the perfume - Clary Sage, Pink Pepper, and Bergamot.

Mid notes of the perfume - Leather, Haitian Vetiver

Base notes of the perfume - Cacao Pod, Indonesian Patchouli, Akigalawood, and Ambroxan.

Montblanc Legend Spirit Eau De Toilette

The Montblanc Legend Spirit Eau De Toilette was launched in the year 2016. The fragrance blends citrus and aquatic aromas, giving a clean and fresh feel. This Montblanc perfume is fresh and a fruity fragrance with sharp opening notes. The life and sillage of the perfume are moderate and can last 4 to 5 hours. Its aquatic and citric feel gives the perfect daytime scent, especially on those hot and sultry summer days.

Top notes of the perfume - Pink Pepper, Bergamot, and Grapefruit.

Mid notes of the perfume - Lavender Cardamom and Aquatic notes.

Base notes of the perfume - Cashmere Wood, Oakmoss, White Musk, and White Woods.

Montblanc Legend Night Eau De Toilette

The Legend Night Eau De Toilette was created by perfumers Oliver Pescheux and Antoine Maisondieu and launched in 2017. At heart, it is a woody aromatic fragrance blending with shy notes of mint, lavender, and vanilla. The longevity and the sillage of Legend Night Eau De Toilette are moderately lasting up to 4 to 6 hours. The fragrance is perfect for those cold wintry days and cold autumn nights. It is a classy and sophisticated fragrance to wear on a dinner date to impress.

Top notes of the perfume - Mint, Clary Sage, Bergamot, and Cardamom.

Mid notes of the perfume - Apple, Fir Resin, Violet, and Lavender.

Base notes of the perfume - Akigalawood, Vetiver, Musk, Patchouli, and Black Vanilla Husk.

Montblanc Individuel Eau De Toilette

The Montblanc Individuel Eau De Toilette was created by the perfumer Pierre Bourdon and was launched in the year 2013. The fragrance is fresh and very fruity with a fine blend of oriental wood fragrance, perfect for the modern metrosexual man. The longevity and sillage of the Eau De Toilette are moderate, up to 4 to 5 hours. However, sweetness is not just for women, it can work beautifully with men as well, and this Montblanc perfume is the perfect example.

Top notes of the perfume - Lavender, Pineapple, Mint, juniper Berries, Bergamot, Rosemary, Cardamom, Coriander, and Cinnamon.

Mid notes of the perfume - Jasmin, Geranium, Violet, and Orange Blossom

Base notes of the perfume - Vanilla, Raspberry, Sandalwood, Musk, Dark Chocolate, Amber, Oakmoss, Vetiver, and Patchouli

Conclusion

If you are a connoisseur of luxury perfumes purchasing one Montblanc perfume for men will be money well spent. And the best place to buy one online is Parcos. Parcos has an array of luxury and budget perfumes and fragrances for both men and women at the most reasonable rates. In addition, the store has an array of beauty products. For example, you can purchase women’s lipstick online and men’s deodorants to classy perfumes. Everything to do with beauty is available at Parcos.

#Montblanc perfume for men #Parcos #lipstick online

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whileiamdying · 6 years

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Review/Film: Telling van Gogh's Story, The Revised Version

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By VINCENT CANBY

The New York Times Archives

After Maurice Pialat's "Van Gogh" was shown at the Cannes International Film Festival in 1991, some members of the audience emerged feeling vaguely cheated and disoriented. "What happened to his ear?" one woman asked her friend. She might have more properly wondered, "What didn't happen to his ear?" All sensational reports to the contrary, Vincent van Gogh did not cut his ear entirely off. He took some nasty swipes at it.

As if to wipe away the myths, Mr. Pialat, the French director who was himself a painter for a number of years, has made "Van Gogh," opening today at the Lincoln Plaza Cinema. Forget all of the hysterical melodrama of "Lust for Life." This "Van Gogh" is an almost serene consideration of the remarkably productive final two months in the artist's life, ending on the day of his death, July 29, 1890, two days after he suffered a self-inflicted gunshot wound.

In Mr. Pialat's revisionist's view, van Gogh couldn't possibly have turned out paintings of such consistent vigor, and at such a pace, if he had been the depressed lunatic he is most often supposed to have been. His film's Vincent, played with seriousness but without solemnity by Jacques Dutronc, is a man who works very hard, and who no longer has the time or the constitution for out-of-control debauchery. He is plagued by headaches and by fears of the return of the bouts of madness that earlier sent him into the asylum. Yet he is not a madman.

"Van Gogh" is almost anti-dramatic. The film opens with Vincent's arrival at Auvers-sur-Oise, a picturesque village north of Paris that has been a favorite with painters for some time. His contact there is Dr. Gachet (Gérard Séty), a wonderfully eccentric medical man who admires painters and, as a result, already has a house stuffed with the work of Cezanne, Pisarro and Renoir, among others.

Dr. Gachet has promised Vincent's brother Theo (Bernard Le Coq) and Theo's wife, Jo (Corinne Bourdon), to look after him. For a time, Vincent and the doctor are fast friends. Gachet understands Vincent's work and sees him as taking painting in an entirely new direction. Vincent does portraits of the doctor and one of his daughter, Marguerite (Alexandra London), at the piano, a work later to be known as "Mlle. Gachet at the Piano."

Mr. Pialat mostly avoids this sort of "See It Now" approach to art history in the making, but no movie about a great painter can avoid it completely. When Vincent returns from a long day in the field, there are bound to be questions about what he has under his arm. Could it be "The Plain at Auvers"? Or maybe "The Plain of Auvers Under a Stormy Sky"? At one point toward the end, Marguerite follows Vincent to Paris where she, Vincent and Theo wind up having a very sporting night on the town, a sequence in which Toulouse-Lautrec shows up and Mr. Pialat presents a few discreet quotes from the work of other painters of the day.

Most of the time, "Van Gogh" is a leisurely, roomy sort of movie, about Vincent's daily life in Auvers, his boisterous, convivial reunions with Theo and Jo over long outdoor lunches at the Gachets', and the occasional picnics with other artists and their models who have come up from Paris for the day.

Mr. Pialat also suggests that Vincent has an affair with Marguerite when she throws herself at him. It's a schoolgirl's crush on her part. Vincent accepts her without committing himself. In the film, this is what leads to his break with her father and, perhaps, hastens his suicide.

"Van Gogh" is a good, quiet, rigorous film, made with intelligence and acted with earnest conviction. It looks lovely, but never makes the mistake of equating a real-life view with what finally appears on Vincent's canvas. "Van Gogh" doesn't shake its head over Vincent's sad fate. It accepts him as he appears to accept himself, without tears, and with only a moderate amount of fury directed at the forces that have yet to recognize him.

"Van Gogh," which has been rated R (under 17 requires accompanying parent or adult guardian), features some partial nudity and some sexual situations. Van Gogh Direction and screenplay by Maurice Pialat; directors of photography, Emmanuel Machuel, Gilles Henri and Jacques Loiseleux; edited by Yann Dedet and Nathalie Hubert; production designer Edith Vesperini; produced by Daniel Toscan du Plantier; released by Sony Pictures Classics. Lincoln Plaza Cinema, Broadway at 63d Street. Running time: 155 minutes. This film is rated R. Vincent van Gogh . . . Jacques Dutronc Marguerite Gachet . . . Alexandra London Dr. Gachet . . . Gerard Sety Theo van Gogh . . . Bernard Le Coq Jo . . . Corinne Bourdon Cathy . . . Elsa Zylberstein Adeline Ravoux . . . Leslie Azzoulai M. Ravoux . . . Jacques Vidal Mme. Ravoux . . . Lisa Lametrie Mme. Chevalier . . . Chantal Barbarit Piano Teacher . . . Claudine Ducret

Van Gogh (1991)

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miguelmarias · 4 years

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Van Gogh (Maurice Pialat, 1991)

Van Gogh ha tardado dos años en estrenarse en Madrid, y ha durado en cartel dos semanas. A pesar de que los críticos españoles destacados en el Festival de Venecia de 1991 la maltrataron, es de esperar que ni ellos mismos se acuerden de lo que dijeron, por lo que semejante falta de interés por la última película de Maurice Pialat, y hasta por Vincent Van Gogh, se me antoja un síntoma preocupante de incultura y falta de curiosidad.

Para mí, se trata de la mejor obra de un cineasta que es hoy, con Godard, el más interesante en activo de Europa, y por lo tanto del mundo. Pero, aunque fuese anónima y nada significara para mí Van Gogh, creo difícil verla sin sentirse maravillado, con esa especie de escalofrío de exaltación y sorpresa que sólo producen las películas verdaderamente excepcionales e innovadoras. Este último aspecto, debo admitirlo, es de importancia secundaria, aunque es posible que sea uno de los escollos mayores de la película: los mismos que hubieran reprochado a Pialat caer en el biopic —que ya hizo, y muy bien, Minnelli en 1956— sienten que "no habla de Van Gogh", además de rehuir la biografía en sentido estricto y centrarse en los últimos meses de su vida, le trata como lo hubiese hecho un cronista local de la época, es decir, sin reverencia hagiográfica, sin el saber retrospectivo que tenemos ahora, sin pintarlo como un genio, y sin dedicarse exclusivamente a reflejar la creación artística, sino su vida cotidiana, sus humores, sus distracciones, su melancolía, su trabajo.

Otro gran acierto de Pialat parece desconcertar: no sólo no trata de reconstruir cinematográficamente los lienzos de Van Gogh, sino que muestra constantemente lo que el pintor tenía a su alrededor pero sus cuadros, en su crispación subjetiva, no reflejan —como el agua, ciertas luces, la serenidad—; por eso la película es de imágenes más "renoirianas" —del padre, Pierre-Auguste, y de su hijo Jean, el cineasta— que "vangoghianas". Como la pintura, igual que el cine, es un arte selectivo, que encuadra, elige puntos de vista y transfigura la realidad, para entender a Van Gogh es tan necesario saber lo que de ella escogía —que está en sus cuadros— como lo que eliminaba, dejaba fuera, no veía, que es precisamente lo que Pialat nos muestra: los encuadres y los contenidos posibles y descartados, todo aquello a lo que Van Gogh, como artista, no era sensible.

Aunque no puede decirse de ningún plano que esté copiado de uno ajeno, Pialat ha logrado el prodigio de sintetizar en Van Gogh el cine de Renoir y el de John Ford, para retratar con naturalidad, humor y violencia —a su manera— al pintor y a todos los personajes que le rodean. Encuentro genial a Jacques Dutronc, pero también a Gérard Séty, Bernard Le Coq, Corinne Bourdon, Elsa Zylberstein, Leslie Azzoulai y, sobre todo, a Alexandra London como Marguerite Gachet. Con Van Gogh, paradójicamente, alcanza Pialat la serenidad y la armonía, y logra una de las películas más conmovedoras, hermosas y emocionantes de los últimos años.

Miguel Marías

Libro "Todos los estrenos. 1993", Ediciones JC

Escaneo: Rodrigo Dueñas

#miguel marías #van gogh #maurice pialat #todos los estrenos: 1993 #ediciones jc

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