#charles lesur

[chicinsilk]

US Vogue March 15, 1962

Dorothy McGowan wears a pale blue coat, and the matching sleeveless dress, in Lesur wool. By Jacques Heim. Shoes, by Charles Jourdan.

Dorothy McGowan porte un manteau bleu pâle, et la robe sans manches qui va avec, en laine Lesur. Par Jacques Heim. Chaussures, par Charles Jourdan.

Photo William Klein

vogue archive

[personal-reporter]

Olivier Messiaen, il musicista che amava gli uccelli

Un uomo che amava la natura e il piacere della musica…. Olivier-Eugène-Prosper-Charles Messiaen nacque ad Avignone il 10 dicembre 1908 dalla poetessa Cécile Sauvage e da Pierre, studioso e insegnante di letteratura inglese. Allo scoppio della prima guerra mondiale Pierre venne  arruolato e la famiglia si trasferì a Grenoble, presso il fratello di Cécile, dove Olivier svolse le prime esperienze musicali e,  dopo i primi approcci da autodidatta, iniziò a prendere lezioni di pianoforte e a dedicarsi alla composizione. Nel 1918, al ritorno di Pierre, i Messiaen si trasferirono a Nantes e, dal 1919, a Parigi, dove Olivier fu ammesso al Conservatorio: fu allievo di Jean Gallon per l’armonia, Maurice Emmanuel per storia della musica, Marcel Dupré per organo e improvvisazione, poi nel 1926 iniziò gli studi di composizione con Charles-Marie Widor per proseguirli poi dal 1927 con Paul Dukas, sotto la cui guida conseguì il Premier prix nel 1930. Durante gli studi Messiaen pubblicò i primi lavori e fu organista presso l’Église de la Sainte-Trinité in sostituzione del titolare Charles Quef e alla morte di questi, nel 1931, rilevò l’incarico. Nel 1932 sposò la violinista e compositrice Louise Justine Delbos, soprannominata Claire, dalla quale nel 1937 ebbe un figlio, Pascal. Colpita da un tumore cerebrale, nel 1947 Claire fu sottoposta a un intervento che, pur riuscendo nell’asportazione, avrebbe causato la perdita della memoria della donna, che avrebbe trascorso il resto della vita in un istituto. Nel 1936 Messiaen iniziò ad insegnare presso la Schola cantorum parigina mentre, insieme a André Jolivet, Jean-Yves Daniel-Lesur e Yves Baudrier fondò il gruppo La jeune France, che, in polemica con Jean Cocteau e il gruppo dei Sei,  propugnava un rinnovamento dei linguaggi musicali. In quel periodo il compositore cominciò a rivolgere la propria attenzione alle potenzialità espressive offerte dalle onde Martenot. Chiamato alle armi al principio della seconda Guerra mondiale,  Olivier nel maggio 1940 fu catturato dalle forze naziste preso Verdun e imprigionato a Görlitz nel campo di concentramento VIII-A e venne liberato nel maggio 1941. Rientrato in patria, ottenne la cattedra di armonia presso il Conservatorio parigino, poi  ampliò progressivamente la propria attività nel campo dell’insegnamento attraverso lo svolgimento di corsi privati di analisi musicale e l’esposizione dei principî alla base del proprio linguaggio nel trattato Technique de mon langage musical del 1944. Presso il Conservatorio passò alle cattedre di filosofia della musica nel 1955, analisi musicale nel 1947 e composizione nel 1962 ed ebbe tra i suoi allievi Pierre Boulez, Karlheinz Stockhausen, Karel Goeyvaerts, Iannis Xenakis, Gerard Grisey, Alexander Goehr, Tristan Murail,  Kent Nagano, George Benjamin  e Yvonne Loriod, con cui stabilì un intenso sodalizio artistico. Invitato a tenere corsi di perfezionamento nei centri di primo piano dell’avanguardia musicale, il compositore fu docente a Budapest nel 1947, a Tanglewood nel 1949, a Darmstadt nel 1949 e nel 1950. Dopo che rimase vedovo nel 1959, nel 1961 Messiaen sposò in seconde nozze Yvonne Loriod e nel 1978 lasciò l’insegnamento presso il Conservatorio, ma continuò a dedicarsi alla composizione musicale e allo studio degli uccelli, che fu la sua seconda grande passione. Il grande musicista morì il 27 aprile 1992 presso l’ospedale Beaujon di Clichy e nel 2014, nel sito del campo di concentramento VIII-A,  venne inaugurato il Centro europeo di istruzione e cultura Meetingpoint Music Messiaen. Read the full article

[jgmail]

TESTAMENTO DE PEDRO EL GRANDE

Traducción de Juan Gabriel Caro Rivera

Este documento es hoy en día considerado una falsificación llevada a cabo por el historiador francés Charles-Louis Lesur para justificar la invasión de Napoleón a Rusia. Sin embargo, muchas de las declaraciones hechas en este documento están en consonancia con la geopolítica rusa tanto pasada como actual. En ella podemos reconocer muchos elementos que incluso al día de hoy son seguidos por los estrategas militares rusos, por lo que estas declaraciones deben ser tomadas con cuidado. Por otro lado, este documento ha sido usado repetidamente por los estadistas e intelectuales occidentales como una prueba del deseo de Rusia por alcanzar la dominación global. De hecho, los liberales contemporáneos han vuelto a utilizarlo después de la invasión rusa a Ucrania como una prueba del imperialismo y el colonialismo ruso actual.

En nombre de la santísima e indivisible Trinidad, yo, Pedro el Grande, dirijo estas palabras a todos mis descendientes y sucesores en el trono y gobierno de la nación rusa:

El Todopoderoso, quien nos concedió la vida y el trono, después de habernos revelado sus deseos e intenciones, y después de ser nuestro apoyo, ha dispuesto que Rusia debe establecer su gobierno sobre toda Europa. Esta idea se basa en el hecho de que todas las naciones de esta porción del globo se acercan rápidamente a un estado de decrepitud total.

Es por eso que pueden ser fácilmente conquistadas por una nueva raza de gente cuando ésta última haya alcanzado todo su poder y fuerza. Consideramos la invasión tanto del Oeste como del Este una especie de decreto de la divina Providencia, que ya una vez regeneró el Imperio Romano mediante una invasión de "bárbaros".

La emigración de los hombres del Norte es como la inundación del Nilo, que en ciertas estaciones enriquece con sus aguas las áridas llanuras de Egipto. Encontramos en Rusia un pequeño riachuelo y lo hemos convertido en un río inmenso. Nuestros sucesores harán de ella un océano destinado a fecundar toda Europa, eso sí, si saben guiar sus olas. Les dejamos, pues, las siguientes instrucciones que recomendamos encarecidamente sean meditadas continuamente:

I. Mantener a la nación rusa en guerra constante, para tener siempre buenos soldados. La paz sólo debe permitirse como medio para subsanar las finanzas. Para reclutar el ejército es recomendable elegir el momento más favorable para el ataque. Así la paz hará avanzar vuestros proyectos de guerra y la guerra nuestros proyectos de paz con tal de obtener el engrandecimiento y la prosperidad de Rusia.

II. Atraed hacia vosotros, por todos los medios posibles, a los capitanes y a los sabios de las naciones civilizadas de Europa, durante la guerra a los primeros y durante la paz a los segundos, para que Rusia pueda beneficiarse de los descubrimientos de otras naciones.

III. Ocupaos de intervenir en todos los asuntos de Europa, y en particular en los de Alemania, que siendo la nación más cercana a vosotros merece vuestra principal atención.

IV. Dividid a Polonia suscitando en su seno continuos desórdenes y celos, ganándose a sus gobernantes por medio del oro; influyendo y corrompiendo a la Dieta con tal de tener voz en la elección de los reyes. Promocionar a toda clase de partidarios y protegerlos; si las potencias vecinas plantean objeciones y oposición, superar los obstáculos suscitando la discordia dentro de sus países.

V. Arrebatarle a Suecia todo lo que podamos y aislarla de Dinamarca y viceversa. Cuidado con despertar sus celos.

VI. Casar a los príncipes rusos con princesas alemanas, multiplicar todo lo posible este tipo de alianzas, uniendo de ese modo nuestros intereses; gracias al aumento de nuestra influencia, sumaremos a Alemania a nuestra causa.

VII. Buscad la alianza con Inglaterra por medio del comercio, ya que es el país más útil para el desarrollo de nuestra marina (comerciantes, etc.) y para el intercambio de nuestros productos a cambio de su oro. Mantener comunicaciones continuas con sus mercaderes y marineros, para que los nuestros adquieran experiencia en el comercio y la navegación.

VIII. Extenderos constantemente a lo largo de las costas del Báltico y de los confines del Euxino.

IX. Haced cuanto esté en vuestro poder para acercaros a Constantinopla y a la India. Recordad que quien gobierna estos países es el verdadero soberano del mundo. Mantened continuas guerras con Turquía y con Persia. Estableced astilleros en el Mar Negro y así obtener gradualmente el dominio de este mar al igual que el Báltico. Esto es necesario para el éxito futuro de nuestros proyectos: Acelerar la caída de Persia, abrir una ruta hacia el Golfo Pérsico y establecer, en la medida de lo posible, por medio de Siria, el antiguo comercio del Levante y avanzar de ese modo hacia la India. Una vez lleguemos allí ya no necesitaremos del oro inglés.

X. Buscar cuidadosamente una alianza con Austria. Hacedle creer que la secundaréis en sus proyectos de dominio sobre Alemania y secretamente incitad a otros príncipes contra ella, de ese modo nos las arreglaremos para que cada uno de estos rivales esté dispuesto a reclamar la ayuda de Rusia. Ejerced sobre cada uno una especie de protección que abrirá el camino a un futuro dominio sobre ellos.

XI. Hacer que Austria expulse a los turcos de Europa y neutraliza los celos de esta última ofreciéndole una parte de tus conquistas, que, más adelante, recuperarás.

XII. Sobre todo, recuerda que estamos rodeados por griegos cismáticos cuya influencia se extienden por Hungría y Polonia. Es necesario convertirnos en su centro y apoyar nuestro dominio universal sobre ellos mediante una especie de gobierno sacerdotal (autocratie sacerdotale); así tendremos muchos amigos entre nuestros enemigos.

XIII. Con Suecia desmembrada, Persia conquistada, Polonia subyugada, Turquía vencida y nuestros ejércitos unidos, desde el mar Negro y hasta el Báltico, vigilados por nuestros navíos, preparad, por separado y en secreto, primero la corte de Versalles, luego la de Viena, para compartir con Rusia el imperio universal. Si una acepta, halagad su ambición y su amor propio, sirviéndoos de una para aplastar a la otra haciéndolas entrar en guerra. El resultado no puede ser dudoso; Rusia será poseedora de todo el Oriente y de una gran porción de Europa.

XIV. Si, lo que no es probable, ambos rechazaran la oferta de Rusia, se suscitaría entre ellos una disputa que los arruinaría a ambos. Entonces Rusia, aprovechando este momento decisivo, inundará Alemania con las tropas que habrá reunido de antemano. Al mismo tiempo, dos flotas llenas de soldados dejarán el Báltico y el Mar Negro, avanzarán por el Mediterráneo y el Océano, manteniendo a Francia en jaque con una, y a Alemania con la otra. Y conquistados estos dos países, el resto de Europa caerá bajo nuestro yugo.

Así se podrá subyugar a Europa.

[barcarole]

Hi! I am such a huge fan of your blog and admire your vast knowledge of classical music. I wanted to ask you if you have any recommendations for books on Bach? I started reading Peter Williams’ “A life in music”, but while enjoying it, I find it a bit too biographical for my needs, as I want to read something that analyses his music in depth, rather than focusing primarily on his life. Also, if you have any non-fiction classical music books to recommend, that would also be very helpful. Thanks!

Hello! I haven’t read A Life in Music, but these are some of my favorite Bach books that focus on his work:

Bach’s Musical Universe, the Composer and his Works, Christoph Wolff

Bach’s Major Vocal Works: Music, Drama, Liturgy, Markus Rathey

Bach and the Patterns of Invention, Laurence Dreyfus

Bach and the Meanings of Counterpoint, David Yearsley

The Creative Development of Johann Sebastian Bach, Richard D. P. Jones (Vol. I, II)

The New Bach Reader, Christoph Wolff

Below, there are some recommended texts. I’ve still yet to read Swafford’s newest Beethoven biography, Fischer’s book on Mahler, a definitive Schubert biography, Debussy’s complete collection of letters and many others, but I enjoyed and learned much from these. In most cases, they don’t require a technical knowledge of music. I tried to cover various areas, depending on which composer/period may interest you more. I hope I’ve helped!

Music Appreciation

The Joy of Music, Leonard Bernstein

Music Here and Now, Ernst Krenek

Poetics of Music in the Form of Six Lessons, Igor Stravinsky

Chamber Music: A Listener’s Guide, James Keller

What to Listen for in Music, Aaron Copland

A Composer’s World: Horizons and Limitations, Paul Hindemith

Biographies

Mozart: His Character, His Work, Alfred Einstein

Monteverdi, Paolo Fabbri

Handel in London: The Making of a Genius, Jane Glover

Beethoven: The Music and the Life, Lewis Lockwood

Schubert: A Biography, Elizabeth Norman McKay

Mendelssohn: A Life in Music, R. Larry Todd

The Life and Music of John Field, Patrick Piggott

Robert Schumann: The Life and Work of a Romantic Composer, Martin Geck

The Schumanns and Johannes Brahms: The Memoirs of Eugenie Schumann

Brahms: A Biography, Jan Swafford

Fryderyk Chopin: A Life and Times, Alan Walker

Franz Liszt: The Virtuoso Years | The Weimar Years | The Final Years, Alan Walker

Memoirs, Hector Berlioz

Wagner: As Man and Artist, Ernest Newman

Debussy: A Critical Biography, François Lesure

Ravel: Man and Musician, Abbie Orenstein

A Great Russian Tone-Poet: Scriabin, Arthur Hull

Sibelius: A Composer’s Life and the Awakening of Finland, Glenda Dawn Goss

Mahler: A Life, Jonathan Carr

Alban Berg: Music as Autobiography, Constantin Floros

Writings on Music: Russian and Soviet Music and Composers, Nicolas Slonimsky

Theme and Variations, Bruno Walter

Sergei Prokofiev: Diaries

Shostakovich: A Life, Laurel, E. Fay

Theory/Analysis

Essay on the True Art of Playing Keyboard Instruments, C.P.E. Bach

Schumann on Music: A Selection from the Writings 

Berlioz on Music: Selected Criticism 1824-1837

Treatise on Instrumentation, Hector Berlioz (rev. Richard Strauss)

Principles of Orchestration, Nikolai Rimsky-Korsakov

Style, Genre, and Meaning in Telemann’s Instrumental Works, Steven Zohn  

The Classical Style: Haydn, Mozart, Beethoven, Charles Rosen

Mozart and His Operas, David Cairns

Beethoven and His Nine Symphonies, George Grove

Prokofiev’s Piano Sonatas, Boris Berman

Mahler: A Musical Physiognomy, Theodor Adorno

Retracing a Winter’s Journey: Franz Schubert’s “Winterreise”, Susan Youens

Schumann’s Piano Cycles and the Novels of Jean Paul, Erika Reiman

The Songs of Hugo Wolf, Eric Sams

Gustav Mahler and the Symphony of the 19th Century, Constantin Floros

A Study of Wagner | The Wagner Operas, Ernest Newman

Sound Figures of Modernity: German Music and Philosophy, Jost Hermand, Gerhard Richter

Musical Symbolism in the Operas of Debussy and Bartok

Style and Idea, Arnold Schönberg

Alban Berg: Master of the Smallest Link, Theodor Adorno

A Mammal’s Notebook: The Writings of Erik Satie

Richard Strauss and His World, Bryan Gilliam

Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera, Bryan Gilliam

Olivier Messiaen: Journalism 1935-1939, Stephen Broad

Letters

Mozart: A Life in Letters | The Letters of W.A. Mozart: Vol. I, II

Beethoven’s Letters, Vol. I, II

Chopin’s Letters

Letters of Robert Schumann

The Complete Correspondence of Clara and Robert Schumann

Correspondence of Wagner and Liszt, Vol. I, II

The Life and Letters of Pyotr Ilyich Tchaikovsky, Modest Tchaikovsky

Antonín Dvořák: Letters and Reminiscences

Intimate Letters: Leos Janáček to Kamila Stösslová

Debussy’s Letters to Inghelbrecht

The Mahler Family Letters 

Theodor W. Adorno & Alban Berg: Correspondence 1925-1935

Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman

History

Music in the Middle Ages, Suzanne Lord

Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, Nino Pirrotta

Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, Cynthia Vera

Dance and Drama in French Baroque Opera: A History, Rebecca Harris-Warrick

Beyond Bach: Music and Everyday Life in the Eighteenth Century, Andrew Talle

Chamber Music: An Essential History, Mark A. Radice

Music and Literature in German Romanticism, Siobhán Donovan, Robin Elliot

Music in Vienna: 1700, 1800, 1900, David Wyn Jones

German Modernism: Music and the Arts, Walter Frisch

Debussy’s Paris: Piano Portraits of the Belle Époque, Catherine Kautsky

On Russian Music, Richard Taruskin

Russian Music and Nationalism: From Glinka to Stalin, Marina Frolova-Walker

Schönberg & Kandinsky: An Historic Encounter, Konrad Boehmer

Women and Music: A History, Karin Pendle

[fantasticmusicvideos]

Moses Sumney - Rank & File

Director - Colin Solal Cardo

Produced by La Blogothèque & BOX Prod Executive producer - Christophe “Chryde” Abric Head of production - Anousonne Savanchomkeo Production administrator - Jonathan André

Sound director - Etienne Pozzo Recording sound engineer - Alban Lejeune Sound engineer - Eliott Sebbag Sound editing - Colin Solal Cardo Sound mix - Etienne Pozzo

Director of photography - Léo Schrepel 1st assistant camera - Charles Lesur 2nd assistant camera - Lucas Plançon Gaffer - Colin Lefebvre Best boy electric - Gabriel Beaumelou Electrician - Anaïs Legros Key grip - Hadrien Martin Grip - Julien Zamora Location manager - Lucas Le Roux Production assistant - Martin Schrepel

Colorist - Jade de Brito SFX - Maxime Poidevin

[todayclassical]

July 02 in Music History

1581 Birth of German organist and composer Johann Staden in Nuremberg. 

1589 Birth of composer Guillaume van Messaus.

1636 Birth of German composer Georgy Daniel Speer in Breslau. 

1714 Birth of Austrian-German composer Christophe Willibald Von Gluck.

1723 Italian composer Antonio Vivaldi is hired at the Pieta girls school in Venice to compose and perform two concerts per month.

1737 Birth of composer François Leonard Rouwyzer.

1746 Birth of composer Hardenack Otto Conrad Zinck.

1763 Birth of composer Peter Ritter.

1778 Death of Swiss-French writer, music critic, and composer Jean-Jacques Rosseau, in Ermenonville.

1788 FP of M. Haydn's "Die Ährenleserin" singspiel, Salzburg.

1793 Birth of composer Antoine Prumier.

1808 Birth of English viola-player Henry Hill. 

1814 Birth of composer Therese Annette Wartel.

1823 FP of Donizetti's "Alfredo il grande" Opera seria, Naples.

1828 FP of Herold's "Lydie" Paris.

1836 Birth of German Wagnerian tenor Ludwig Schnorr von Carolsfeld.

1845 Birth of English contralto Rosina Brandram in Southwark. 

1857 Birth of composer Francesco Spetrino.

1862 Death of German composer and pianist Charles Mayer in Dresden. 

1870 FP of Guiraud's "Le Kobold" Paris.

1876 Birth of Italian tenor Edgardo Gherlinzoni in Stellata di Bondeno. 

1880 Birth of American musical and operetta composer Albert Szirmai. 

1880 Birth of Czech tenor Mirro Stork in Peague. 

1990 Birth of German tenor Robert Bussel in Dresden. 

1897 Birth of American composer William Herbert Brewster. 

1900 FP of the orchestral version of Sibelius' tone poem Finlandia. Robert Kajanus conducting in Helsinki.

1904 Birth of composer Carl Weinrich.

1906 Birth of American composer Robert Levine Sanders in Chicago.

1910 Birth of American composer Earl Hawley Robinson in Seattle, WA. 

1910 Birth of American composer William Douglas Denny. 

1911 Death of Austrian composer and conductor Felix Mottl in Munich.

1914 Birth of American conductor Frederick Fennell in Cleveland, OH.

1914 FP of Miaskovsky´s Symphony No. 1, in Pavlovsk. 

1922 Birth of Polish-Belorussian composer and pianist Genrih Matusovich Vagner in Zhiradov.

1923 Birth of Hungarian baritone Gyorgy Melis in Szarvas Hungary. 

1924 Birth of American composer Rick Besoyan in Alameda, CA. 

1929 FP of George Gershwin's musical Show Girl, at the Ziegfeld Theater in NYC.

1931 Death of French composer Charles Quef, aka Paul Florimond, in Paris. 

1932 Death of Swedish soprano Martina Petrini. 

1933 Birth of composer David Lewin. 

1935 Birth of American pianist Gilbert Kalish.

1938 Death of Italian composer, conductor and organist Oreste Ravanello

1939 Death of Hungarian tenor Otakar Marak.

1939 Birth of Italian bass Gian Carlo Luccardi.

1941 Birth of French tenor Robert Dume' in Nice. 

1942 Birth of tenor Attila Fulop.

1944 Birth of South African baritone Christian Du Plessis. 

1945 Birth of American trombonist and composer James Orville Fulkerson in Streator, IL.

1948 Birth of French conductor Sylvain Cambreling in Amiens.

1948 Death of Russian bass Vladimir Kastorsky.

1949 Birth of American composer Todd Barton.

1949 Birth of soprano Mani Mekler in Haifa.

1949 FP of John Alden Carpenter's revised Symphony No. 2. Chicago Symphony with Fritz Busch conducting at Ravinia Festival.

1952 Death of Dutch composer Henriëtte Bosmans in Amsterdam. 

1953 Birth of American electronic music composer Justin Saragosa in Pioche, NV.

1963 Birth of American electric guitarist and composer John Fitz Rogers.

1968 Death of German composer Hanns Wolf in Fuessen. 

1980 Birth of American composer Darien S. Shulman.

1983 Death of American bass-baritone Donald Gramm. 

1983 FP of Libby Larsen's Deep Summer Music. Minnesota Orchestra, Joseph Giunta conducting in Terrance, MN.

2002 Death of American Avant Garde composer and trumpeter Earl Brown. 

2002 Death of French composer Jean Yves Daniel-Lesur in Paris.

[artwalktv]

Director - Colin Solal Cardo Produced by La Blogothèque & BOX Prod Executive producer - Christophe “Chryde” Abric Head of production - Anousonne Savanchomkeo Production administrator - Jonathan André Sound director - Etienne Pozzo Recording sound engineer - Alban Lejeune Sound engineer - Eliott Sebbag Sound editing - Colin Solal Cardo Sound mix - Etienne Pozzo Director of photography - Léo Schrepel 1st assistant camera - Charles Lesur 2nd assistant camera - Lucas Plançon Gaffer - Colin Lefebvre Best boy electric - Gabriel Beaumelou Electrician - Anaïs Legros Key grip - Hadrien Martin Grip - Julien Zamora Location manager - Lucas Le Roux Production assistant - Martin Schrepel Colorist - Jade de Brito SFX - Maxime Poidevin La Blogothèque Post-production supervisor - Nicolas Rochette Post-production manager - Alexandre Sellem BOX Prod Producer - Victor Holl Post-production assistant - Marine Surblé Special thanks to Marie Skoczypiec at DCA, Marie-José Collet at Cininter, Jean-François Boucher at Cinesyl, Kenji Meunier at Les Chaudronneries

[whileiamdying]

Director - Colin Solal Cardo Produced by La Blogothèque & BOX Prod Executive producer - Christophe “Chryde” Abric Head of production - Anousonne Savanchomkeo Production administrator - Jonathan André Sound director - Etienne Pozzo Recording sound engineer - Alban Lejeune Sound engineer - Eliott Sebbag Sound editing - Colin Solal Cardo Sound mix - Etienne Pozzo Director of photography - Léo Schrepel 1st assistant camera - Charles Lesur 2nd assistant camera - Lucas Plançon Gaffer - Colin Lefebvre Best boy electric - Gabriel Beaumelou Electrician - Anaïs Legros Key grip - Hadrien Martin Grip - Julien Zamora Location manager - Lucas Le Roux Production assistant - Martin Schrepel Colorist - Jade de Brito SFX - Maxime Poidevin La Blogothèque Post-production supervisor - Nicolas Rochette Post-production manager - Alexandre Sellem BOX Prod Producer - Victor Holl Post-production assistant - Marine Surblé Special thanks to Marie Skoczypiec at DCA, Marie-José Collet at Cininter, Jean-François Boucher at Cinesyl, Kenji Meunier at Les Chaudronneries

[vm4vm0]

Vendredi sur Mer - Ecoute Chérie from Alice Kong on Vimeo.

Label : Profil de Face Production : Partizan Producteur exécutif : Stan Bertin Directeur de production : Auguste Bas Acteurs : Mathilda Zerty, Etienne Baret, Daphné Somoza-Sternis, Félix Cordier, Léa Bonneau, Kandioura Fissourou, Thomas Jullien, Jade Deshayes, Kauda Pharaon, Tina Rozencwajg, David Bottazzi, Flora Mezino, Djeason Valerio, Léa Mesnil, Mathilde Gautier, Emma Belabed, Loann Cadic, Chloé Crozat, Félix Bruneau, Zac Andria, Elias Ouassir.

Première assistante réalisatrice : Anne Chapelot Deuxième assistant réalisatrice : Raphaël Vinchon Chef-opérateur : Léo Schrepel Premier assistant caméra : Charles Lesur Seconde assistante caméra : Lyne Alaoui Chef-électricien : Colin Lefebvre Electricien: Gabriel Beaumelou Chef-machiniste : Julien Zamora Etalonneur : Vincent Amor Cheffe-décoratrice : Alice Neuville Assistants décoration : Romane Edinger, Kevin Capelle Styliste (acteurs) : Agathe Auriffeille Assistante stylisme: Bérénice Perrot Styliste (Vendredi sur Mer) : Jeanne Friot Cheffe-maquilleuse : Jade Berrocal Assistantes maquillage: Juliette Geindre, Nina Le Roux Cheffe-coiffeuse : Pauline Brunel Assistante coiffeuse: Elodie Rebuffo

Régisseuse générale : Zoé Chadeau Régisseur adjoint : Mathieu Le Dez Auxiliaire régie: Daniel Fortunato

[ozkamal]

Director - Colin Solal Cardo Produced by La Blogothèque & BOX Prod Executive producer - Christophe “Chryde” Abric Head of production - Anousonne Savanchomkeo Production administrator - Jonathan André Sound director - Etienne Pozzo Recording sound engineer - Alban Lejeune Sound engineer - Eliott Sebbag Sound editing - Colin Solal Cardo Sound mix - Etienne Pozzo Director of photography - Léo Schrepel 1st assistant camera - Charles Lesur 2nd assistant camera - Lucas Plançon Gaffer - Colin Lefebvre Best boy electric - Gabriel Beaumelou Electrician - Anaïs Legros Key grip - Hadrien Martin Grip - Julien Zamora Location manager - Lucas Le Roux Production assistant - Martin Schrepel Colorist - Jade de Brito SFX - Maxime Poidevin La Blogothèque Post-production supervisor - Nicolas Rochette Post-production manager - Alexandre Sellem BOX Prod Producer - Victor Holl Post-production assistant - Marine Surblé Special thanks to Marie Skoczypiec at DCA, Marie-José Collet at Cininter, Jean-François Boucher at Cinesyl, Kenji Meunier at Les Chaudronneries

[chicinsilk]

Jacques Heim Haute Couture Collection Fall/Winter 1958-59 Simone d'Aillencourt wears "Chanterelle", a mustard bridle coat, from Lesur. Large collar, double-breasted, inlay forming a yoke, are the characteristics of this model. Svend-Heim hat. Charles Jourdan pumps. Lucienne Offenthal handbag.

Jacques Heim Collection Haute Couture Automne/Hiver 1958-59 Simone d'Aillencourt porte "Chanterelle" un manteau en bouclette moutarde, de Lesur. Grand col, double boutonnage, incrustation formant empiècement, sont les caractéristiques de ce modèle. chapeau de Svend-Heim. Escarpins Charles Jourdan. Sac à main Lucienne Offenthal.

Photo Philippe Pottier

[alessiocuschierict]

Art & Religion

Art and religion are related heavily  and it is predominantly due to them in effect being highly intermingled within  the anthropological nature of humanity. As prehistoric humans began to create art it is evident that they were made conscious of their mortality, this is to say that they reached the ability to mentally time-travel (Genevieve von Petzinger , 2015). By this one means to say that they became aware of their mortality, that they are alive momentarily, moreover allowing them to review part events, the present and conceive future outcomes. It is only with this in mind that one begins to then understand prehistoric art well, that their beliefs are to be preserved so that they may in turn give the future generations their knowledge. To say that religions and art and not intermingled would be a great falsification. For hundreds of years the sole purpose of art was predominantly religious, with only  relatively recent times shifting this  practice.  However some still question as to weather or not religious art should still be of relevance, to which my genuine opinion is, of course it should be, and well enough still is. 

There is an abundant if not  overtly regurgitated attitude towards conventional religious art (particularly within Malta and our numerous, dare I say ridiculous quantity of churches and parishes) predominantly with it being Roman Catholic. as the world has become more secularized and religious art is  evidently becoming less predominant on the scene, religious art will most likely serve to function a new niche, that of recording individualistic belief rather than institutionalized dogma. This could be seen within my thesis research, as Maltese prehistoric iconography was in effect venerated and used to represent  artists beliefs, be they feminist or otherwise. Though not strictly religion, it is more or less the core beliefs of these people which this art represents, which could arguably be in effect one and the same with religious principles. This ist a tad ironic, particularly when one addresses the fact that some artists turned to such images as an alternative to the predominantly paternal nature of the catholic church as a  protestant or argumentative statement. 

 As the world secularizes one could argue that religious art is destined to die out slowly, however I would argue that rather it would instead become a niche art-world movement/subject matter, along the same lines as true-occult art and the like.

References:

Lagana, L., 2005.  Prehistoric Malta and Contemporary Art. Ph. D. Loughborough University.

 Lagana, L., 2008. The Primitivism debate and Modern Art, IV MEDITERRANEAN CONGRESS OF AESTHETICS. ‘Art and Time’, Yarmouk University: Irbid,

 Lagana, L, [n.d], Love of nature and the ‘primitive’. [pdf] Academia. Available at:< https://www.academia.edu/6452937/Love_of_nature_and_the_primitive_>[Accessed 21st October 2016]

 Lagana, L., 2005. Prehistoric Malta and Contemporary Art. [pdf] Academia. Available at:< https://www.academia.edu/846741/Prehistoric_Malta_and_Contemporary_Art> [Accessed 21st October 2016]

 Lagana, L., 2007.  The Return Of the Mother goddess. [pdf] Academia. Available at:< https://www.academia.edu/6444543/The_Return_of_the_Mother_Goddess> [Accessed 21st October 2016]

 Lagana, L., 2008. Interpreting the Maltese prehistoric Goddess. [pdf] Academia, Available at:<https://www.academia.edu/6399351/Interpreting_the_Maltese_Prehistoric_Goddess> [Accessed 21st October 2016]

 Lagana, L., 2009. Charles Cassar. Gudja: Gutenberg Press.

  Lagana, L., 2009. Homage to Fertility? Essay in 100,000 of Beauty (Gallimard/Babylon Publishers, France.  [pdf] Academia. Available at:< https://www.academia.edu/6458188/Homage_to_Fertility_Essay_in_100_000_of_Beauty_Gallimard_Babylon_Publishers_France_>  [Accessed 21st October 2016]

 Lagana, L., 2010. The Artist-Shaman and Primitivism. [pdf] Academia. Available at:< https://www.academia.edu/846740/The_Artist-Shaman_and_Primitivism> [Accessed 21st October 2016]

 Lagana, L., 2014.  The Re- emergence of the great mother goddess. [pdf] Academia. Available at:< https://www.academia.edu/214064/The_Re-emergence_of_the_Great_Mother_Goddess> [Accessed 21st October 2016]

 Lagana, L., 2014. The Goddess and contemporary spiritual values, [pdf] Academia. Available at:< https://www.academia.edu/7661190/The_Goddess_and_Contemporary_Spiritual_Values> [Accessed 21st October 2016]

 Lesure, R.G., 2011. Interpreting Ancient Figurines: Context, Comparison, and Prehistoric Art. New York: Cambridge University Press

 Michael, R., 1971. The megalithic art of the Maltese Islands. [pdf] University of Malta. Available at:<https://www.um.edu.mt/library/oar/handle/123456789/9987> [Accessed 12th October 2016]

 Mithen, S .ed, 1998. Creativity in Human Evolution and Prehistory. London: Routledge.

  Ridley, M., 1971. The Megalithic Art of the Maltese Islands. Hampshite: Dolpphin Press.

 Sagona, C., 2015. The Archaeology of Malta. New York: Cambridge University Press

TED, 2015. Why are these 32 symbols found in caves all over Europe | Genevieve von Petzinger, [Video Online], Available at: < https://www.youtube.com/watch?v=hJnEQCMA5Sg> [Accessed 28th October 2016]

 TEDx Talks, 2012. The Roots of Religion: Genevieve Von Petzinger at TEDxVictoria, [Video Online], Available at: < https://www.youtube.com/watch?v=4Zgwz_m7sRs> [Accessed 28th October 2016]