“Here’s a window in the walls of cloth I’ve torn” – Efforts & Arts : watching Fellini’s movies

I’m in the process of watching all Fellini‘s movies, therefore, like in every great artist’s career, I detect “eras”, changes, evolution, attempts.

Of course I keep piling books and articles about the guy’s work, which needs to be explored, explained, viewed, considered…

I finished La Dolce Vita – I admit I had to cut it in three parts; the movie is very long (3 hours), very unusual. It becomes too long, or too Italianistically talkative.

Themes : quitting travelings, sisters, corteges, seashores, the sound of the wind, camera stares, but also invisible frontiers between the dreams and reality, hidden coincidences (Mastroianni “can’t hear” from the helicopter at the beginning, and can’t hear the young lady’s message, on the beach at the end – it’s a double door), artificialism, the use of light, the “choreographic” movements at key moments…

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It’s enthralling to read about these movies, from interpretations to replacing this one in a path-career, to how it’s been received at the time. Deciphering (or not).

And then : watching how Fellini pushes levers, shifts and sticks. Going further. 8 1/2 looks like a maze, a game : spleen, creation, disillusions. You don’t understand anything, and yet it’s dazzling, sumptuous!

If you go further, you can be lost. But you can try though…

Fellini hated the character of Casanova. Thus he chose D. Sutherland (which is not the idea of Casanova you have), and makes a movie like a terrible necklace of weird scenes. It’s exaggerated, seedy, outrageous, artificial, decadent. This it’s not easy AT ALL to watch it!

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Three examples as a path into… difficulties, but pleasure. Films complicated, fascinating, which make you think and wonder, or fight – and let your full of questions.

Like after important dreams, right?

 

That leads to the idea of “Efforts & Art”. Why should one make an effort to watch a movie? Why not? Do we have to be seduced, or not? At what level? What do we dig here?

What’s that pair, dancing : Brilliant / Complex? Why contradictory?

If Fellini is a Picasso of movies, who’s the writer? Proust? And the poet? Mallarmé?

 

Thanks for reading!

 

Here are 2 Picasso portraits, for no reason :

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The Clown Chastised

Eyes, lakes of my simple passion to be reborn
Other than as the actor who gestures with his hand
As with a pen, and evokes the foul soot of the lamps,
Here’s a window in the walls of cloth I’ve torn.

With legs and arms a limpid treacherous swimmer
With endless leaps, disowning the sickness
Hamlet! It’s as if I began to build in the ocean depths
A thousand tombs: to vanish still virgin there.

Mirthful gold of a cymbal beaten with fists,
The sun all at once strikes the pure nakedness
That breathed itself out of my coolness of nacre,

Rancid night of the skin, when you swept over me,
Not knowing, ungrateful one, that it was, this make-up,
My whole anointing, drowned in ice-water perfidy.

LE PITRE CHATIÉ

Yeux, lacs avec ma simple ivresse de renaître
Autre que l’histrion qui du geste évoquais
Comme plume la suie ignoble des quinquets,
J’ai troué dans le mur de toile une fenêtre.

De ma jambe et des bras limpide nageur traître,
À bonds multipliés, reniant le mauvais
Hamlet! c’est comme si dans l’onde j’innovais
Mille sépulcres pour y vierge disparaître.

Hilare or de cymbale à des poings irrité,
Tout à coup le soleil frappe la nudité
Qui pure s’exhala dans ma fraîcheur de nacre,

Rance nuit de la peau quand sur moi vous passiez,
Ne sachant pas, ingrat! que c’était tout mon sacre,
Ce fard noyé dans l’eau perfide des glaciers.

(Mallarmé)

Many MTWs (Picasso)

Marie-Thérèse Walter was one of Pablo Picasso’s mistress. Today we see her as a Type (young, sweet, sunny, blond, athletic girl), which is incorrect but interesting, if you study Types along the life of the painter.

We all know the Picasso-esque messy faces, sideways-full-faces with eyes all around, with an ear on the forehead et voilà.

Today I chose three ways for MTW : photographies, paintings, and drawings. All of them are very different, though you quickly realize he managed to show something of her on each. Showing the person, her kindness and her curves, her half smile, her strength, her splendid profile and…

…well : see by yourself :

 

Seeds for the mind : what does a painter show? What do we see in Goya “official” royal family portrait? Reality, or what’s inside? Lines, or the painter’s feeling?

What could we do with these questions? In photography, poetry, storytelling.

What is hidden and shows something?

Have a great day!

Picasso & how to glean the best from letters.

Some Picasso‘s exes were writing him letters, sometimes daily, for years. I read that he loved these a LOT.

I’m writing an article about “Types of Muses”, idea given by his life & wives. Instead of giving a list of names with a few labels on each (intellectual/innocent, tortured/happy, silent/talkative) let’s say he met very different persons – which is common, but means maybe a lot more for a artist.

Daily stories, thoughts, attacks, melancholia, gossips, hopes or life moments, anything : Picasso opened the envelopes and loved them all with gourmandise, like love of good food, it “made his honey”, like we say in France (“Faire son miel”) : He knew how to glean the best from these letters.

Why, what for?

This leads me to some ideas or tools :

  • Keeping bonds with personalities that count.
  • A way to make excellent use of everything, extract or invent seeds of them.
  • A form of happiness – to be a “best gleaner”, a happy amor fati person, a dancer with what “comes”.
  • It also shows a strength. Knowing what he wants in his life, what he’s worth, in a way : “…but words will never break me”.
  • What would one do else with daily letters? Trash them? It’s a pressure, right? Some likes pressure from others, because it’s life?
  • Knowing that these persons think about him?
  • Simple entertainment?

 

It makes me wonder about the daily writers too :

  • Was it a promise – to keep in touch?
  • When you know you write to Picasso (even if he is your “ex”), you stand up differently, you have to be “up to the conversation partner”, which is great for steam and inspiration, of course…
  • Therefore it gives you a force, ideas, attitude, and a desire to impress, probably.
  • A displacement/substitution for love and conversation…

 

(Hmm sorry I’ll be Picasso-ed for a moment)

Thanks for reading!

JP

 

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Paul Valéry about “writing for someone”?

Why I talk to my exes

You’re great / You’re not great anymore

 

Picasso about Matisse : “We must talk to each other as much as we…”

Picasso about Matisse :

“We must talk to each other as much as we can. When one of us dies, there will be some things that the other will never be able to talk of with anyone else.”

 

“Il faut que nous parlions ensemble le plus possible. Quand l’un de nous sera mort, il aura des choses que l’autre ne pourra plus jamais dire à personne”.

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Unconditional Friendship

Picasso’s whirlwind

What is your exploration field, today? Japanese cinema, French classical music, British painters of 19th Century, US Civil War?

Picasso for me. There are constant exhibitions around the world, but there’s a big one in the Musée d’Orsay this fall in Paris. As a bookseller, I got the usual shower of new books. I opened one, and the summary stung me.

Mahler, Proust, Marx, I chose these three examples for this article : Jungle Syndrome. Something, in these, is “too much”. Too complex, too rich, too interesting, too big. You pick a leaf, then you have a tree, a forest, a universe. Gasp !

I also realized I had to find my own path : Feeling the air of Waterloo & other oblique explorations…

One explorer’s pleasure – when you want to explore a subject like this – is to gather weapons : documentaries, downloaded images or pdf, books. I ordered some, bought second handed others…

I’m reading the “first little guides”, one of Picasso’s wives biography, and many prefaces and introductions.

I ordered a huge biography, bought a second hand two volumes chronological illustrated book, found other things in my own shelves…

I already feel the fire, “this” fire you all know…

“Towering genius of the century”, “long and prolific career”, what I already know is this : nobody can explain or frame Picasso’s work. Every author talks about paradoxes or multifacets (like for every important artist or writer). Variety and never ending exploration, but with strong themes and structures under. Modern, but based on classics. Childish, but with strong work and maturity. Free, daring and casual, all driven by terrific invention. Revolutionary on many stairs.

So, yes, it’s whirlwindy, immense, impossible to cover. One of the good things is that Pablo Picasso talks and explains a lot about his work, about what he wants

This will be a lovely autumn, right?

Thanks for reading!

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Picasso’s Tools for bloggers!?

Picasso’s Tools for bloggers!?

Nah, not his cans and brushes : Tools for the mind!

Here’s what I did : I picked a great book about Picasso, from Philippe Dagen.

It’s a great book because it’s not about “Picasso’s life”, and it’s not a “catalog of paintings”. He looked for structures, patterns, tools for the mind, and showed how in many aspects Pablo Picasso is a great artist.

I took a pictures of these patterns he detected, and I’ll casually apply them into the blogging activity. You’re free, after this, to apply this toolbox to poetry, teaching, marketing, photography, baking, theater or music composition. Life’s cool, right?

  1. Discover the modern
  2. Express by the primitive
  3. Build until crumbling
  4. Invent some new codes
  5. Hold all styles in one’s hand
  6. Let loom the monsters
  7. Stare at inhumanity
  8. Pit against the present
  9. Never finish

 

These are terribly pleasant injunctions, right? It shows we can build our own roads, windows, tools and door. It shows we can dare, be casual, open, multiple. It shows we can play, have fun, plug things, juxtapose concepts, dance, be fast, and intelligent, and plugged to the now.

Have fun!

 

 

Baudelaire and imagination and Picasso

Baudelaire wrote that imagination is a faculty which, without recourse to any philosophical method, immediately perceives the secret and intimate connections between things, correspondences and analogies.

Isn’t it surprising?

My Harrap’s dictionary says :

 

  1. the forming or ability to form mental images of things, people, events, etc that one has not seen or of which one has no direct knowledge
  2. the creative ability of the mind
  3. the ability to cope resourcefully with unexpected events or problems

 

Baudelaire is telling us not about the nature of imagination, but how it works.

There should be another dictionary next to the normal ones : dictionary of how it works, dictionary of tools for the mind.

 

I think we confusément know, all of us, than from the littlest things to the biggest pictures and projects, ideas come from connecting things people never thought to connect before.

Oh, this is assemblage, right?

 

Thanks for reading!

 

 

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Guess how I made the bull’s head? One day, in a pile of objects all jumbled up together, I found an old bicycle seat right next to a rusty set of handlebars. In a flash, they joined together in my head. The idea of the Bull’s Head came to me before I had a chance to think. All I did was weld them together… [but] if you were only to see the bull’s head and not the bicycle seat and handlebars that form it, the sculpture would lose some of its impact.

Pablo Picasso