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baudelaire-new-school-smallAmong the tableaux being exhibited through January 20 by the Musée de la vie Romantique in Paris for its exhibition L’oeil de Baudelaire, commemorating the author’s critical work on the 150th anniversary of his death: Alexandre Gabriel Decamps (1803-1860),”Ecole de jeunes enfants,” 1846. Amsterdam, Netherlands. Copyright Amsterdam Museum, legs C.J. Fodor. Courtesy Musée de la vie Romantique. In “The Salon of 1846,” chapter VI, ‘Some colorists,’ Baudelaire comments: “‘L’École turque,’ nevertheless, resembles these strong paintings. These are exactly those handsome children that we know, and the dusty atmosphere, suffused with light, of a room which the Sun would like to completely invade.”

Cross-Country / A Memoir of France, 18: Sarah Bernhardt’s Mirror

By Paul Ben-Itzak                                                                                                                                          Copyright 2016 Paul Ben-Itzak

(Like what you’re reading? Please support the Arts Voyager by donating through PayPal, designating your payment to, or write us at that address if you prefer to pay by check or in Euros. Based in the Dordogne and Paris, the Arts Voyager is also currently looking for lodging in Paris or Bordeaux. Paul  is also available for translating, editing, and webmastering assignments.)

Antoine’s Children

 “Ca pique!” Emilie complained before gingerly extracting the chewy Chinese ginger candy I’d offered her from between her pursed lips and tossing it towards the Seine, prompting a momentary flashback of a junior high school field trip to a movie theater in San Francisco’s Chinatown during which I persisted in sucking a dried plum bon-bon that turned out to be unexpectedly salty because it would have been inelegant to spit it out. We were scrunched together thigh to thigh in the back of Pierre’s Lilliputian 1961 tan Renault. I’d whipped out the bon-bon to change the subject from Sarah Bernhardt’s mirror, which I’d procured at a Montmartre garage sale earlier that Saturday afternoon and whose authenticity Pierre had been disputing, our argument no doubt another manifestation of Old World cynicism versus New World optimism – or, as the French would put it, naivité. (A transatlantic combat to which there are exceptions; Camus has been described – albeit by an American scholar — as an optimistic pessimist.) Never mind that Pierre had not yet seen the mirror, encased by a rotating mahogony frame, itself framed by a mahogony border encrusted with abalone shells, in true St-Honoré Belle Epoch style, le tout supported by two feet; nor had he looked into the eyes of the couple of middle-aged Bohemians who’d sold the mirror to me after furnishing a logical explanation of how they’d inherited it. I’d only just met Emilie at Pierre’s bookstand across from the Hotel de la Ville; a friend of a fellow bouquiniste and just arrived from Bordeaux, she was tagging along for Pierre’s 40th birthday party, which I’d volunteered to DJ on his sound equipment, more ancient and decrepit than the Renault. At the moment, though, I was more perturbed by the warmth emanating from Emilie’s thighs, palpable even through our two pairs of Levis.

“Your music is shit!” the skinny 14-year-old son of one of Pierre’s guests, a bedraggled 40-something woman with a pre-maturely weathered visage, had just volunteered (we’re now later, at the party, and, knowing the Frenchies predilection for the ‘80s, I was spinning the Human League’s “Mirror Man”), prompting me to segué into Nirvana’s “Smells Like Teen Spirit” and bound over the window sill into the courtyard of Pierre’s building on the rue Capitaine Spalding in the 20th arrondissement, not far from the Place Edith Piaf with its statue of “La Mome,” to complain to the mother.

“Do you know what your son just said to me?” I interrupted the woman’s conversation with Pierre’s 20-something blonde Russian girlfriend, my hands indignantly posed at my waist. “I’m not getting paid for this. I’m DJing as a present to Pierre. I don’t deserve to be insulted by rude teenagers.”

“He’s just a kid,” the mother replied, smiling smugly in such a way as to try to deflect the responsibility back to me for the tenor of my reaction. “Be cool.”

When I returned to the living room and plopped down to pout on the black double-bean bag “chair” from which Emilie had been regarding the scene with an indulgent smile, she watched me with amused tolerance for a moment before observing, “You know Paul, I’m a children’s social worker by training, and there’s something you must understand:  It is very important for adolescents to be able to claim their independence, to find their territory. Just because you’re an adult doesn’t mean you automatically win their respect.”

“I saw ‘The 400 Blows’ too,” I sputtered out, referring to the Truffaut film. “And Antoine Doinel at least had respect for artists! He erected an entire shrine to Balzac….”

“….And that did not prevent his father from taking him over his knees,” Emilie pointed out, placing her hand on mine for emphasis, “and whipping him with a belt when the candles for his shrine almost burnt down their flat. Those days are gone. We’re living in a new epoch. French children no longer have to submit to the unquestioned authority of their elders and have the right to claim their own autonomy.”

Besides the difficulty of maintaining a serious stance when you’re sitting in a bean bag chair which sends you constantly tumbling into the lap of your adversary, the inclination of my own inner adolescent to sulk was fast losing out (to cop a line from Boccaccio) to the resurrection of the teen spirit of the flesh provoked by the increasing heat emanating through our jeans, so I not so adroitly attempted another segué.

“I’m enjoying arguing this point with you, but I need to change the record. Est-ce que tu peut te liberé pour diner avec moi le mardi prochaine? (Can you free yourself up to dine with me next Tuesday?) Histoire de continue le conversation.” At this Emilie paused, looked me in the eyes, lifted the red ballpoint pen from my pocket, took my forearm between her tiny fingers and wrote her mobile number on my skin. Inspired by this breach, I managed to catapult myself in one leap from the bean bag chair to the record bin and pulled out the Pretenders, cueing up Chrissie Hynde to resurrect Jimi Hendrix:

I used to live in a room full of mirrors
All I could see was me
Well I take my spirit and I crash my mirrors
Now the whole world is here for me to see
I said the whole world is here for me to see.


chicago-russians-smallAs part of the exhibition Humanism + Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky, the Art Institute of Chicago is showing, through January 10: Aleksandr Zhitomirsky, “No to War!,” maquette, about 1963. Ne boltai! Collection. © Vladimir Zhitomirsky and courtesy the Art Institute of Chicago.

Alep forever

(English translation below.) “C’est un ville très ancienne et pourtant si jeune, bien qu’elle ait toujours été là. Elle rivalise de durée avec les jours et les ans et a survécu à ses dirigeants et son petit peuple. Voici ses résidences et ses maisons, mais où sont ceux qui les ont habitées et les ont occupées? Voici le palais royal et sa cour, mais où sont les princes hamdanites et leur poètes? Oui, tous ont disparu, seuls leurs édifices demeurent. Ville surprenante qui dure, mais dont les maitres ont passé; ils ont péri, mais elle n’est pas près de disparaitre.”

“It’s a city that’s simultaneously ancient and young, even though it has always been there. It competes for duration with the days and the years and has survived its rulers and its populace. Behold its residences and houses, but where are those who inhabited and occupied them? Behold the royal palace and its courtyard, but where are the Hamdanite princes and their poets? Yes, they’ve all gone; only their edifices remain. Surprising city which endures, but whose masters have vanished. They may have perished, but she is not ready to disappear.”

— Iban Jubayr, an Andalusian traveler, 1184. Cited by Julia Gonnella in “Arts & Civilisations de l’Islam,” published under the direction of Markus Hattstein and Peter Delius by Konemann. Printed in France.

The ink that dreams are made of, 2: Krazy like a Kat

krazy-katGeorge Herriman, “Krazy Kat, My Old Kentucky Home.” India ink on Bristol board, 24 x 16 1/2 inches. Original drawing for a Sunday comic strip featuring Krazy Kat published in 1936 by King Features Syndicate. Signed. Artcurial pre-sale estimate: $40,000 – 50,000. Image copyright and courtesy Artcurial.

By Paul Ben-Itzak
Text copyright 2016 Paul Ben-Itzak

(Like what you’re reading? Please support the Arts Voyager by donating through PayPal, designating your payment to, or write us at that address if you prefer to pay by check or in Euros. Based in the Dordogne and Paris, the Arts Voyager is also currently looking for lodging in Paris, Bordeaux, or Lyon. Paul Ben-Itzak is also available for translating, editing, and webmastering assignments.)

Before it was an auction house, Artcurial was an opulently furnished gallery of contemporary art, its 2500 square meter home lavishly underwritten by no less than l’Oreal and opening with a bang with permanent exhibitions featuring the likes of Bonnard, Atlan, Braque, and Poliakoff. Kandinsky’s “Music Salon,” created in Berlin in 1931, was reconstituted, monographs were published on the side for the likes of Wilfredo Lam and Salvador Dali, and le tout was augmented by what Opus International’s Jean-Louis Pradel described after the opening as “one of the richest contemporary art libraries to be found in Paris, [with] 4000 books on 20th-century art and more than a hundred international art revues.” All this was trumpeted on the gallery’s 1975 opening with a massive advertising campaign which broke with the traditional reserve of the toney neighbor galleries on the august rue Matignon. Counter-intuitively — because one would assume that the content of an auction is determined primarily by who’s decided to sell what — this curatorial instinct seems to have been retained in Artcurial’s auctions. Its second Hong Kong sale — to be held Monday in… a museum — is no exception. Notwithstanding company official Isabelle Bresset’s vaunting the sale of 80 examples of street and comics art as representing “a vibrant panorama of a part of *contemporary art* (emphasis added),” among the catalog of 80 lots are two original drawings which also fulfill the historical-educational function of a museum. In addition to a strip by Little Nemo father Winsor McKay, George Herriman’s Krazy Kat also shows up. If the original drawing in question, dating from 1936, doesn’t boast the surrealist mesas and arroyos of Herriman’s work from the 1920s, the three principal characters (see above) are in fine form and the landscape is still peopled by a cactus, a cluster of giant toadstools, and what could be a range of Arizona pyramids. (Source for background on Artcurial gallery: Jean-Louis Pradel, “Artcurial,” Opus International, February 1976.)

Looking through the eye of Baudelaire

baudelaire-daumier-10-small-newHonoré Daumier (1808-1879), “Le palais de justice,” 1850. Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Petit Palais / Roger-Viollet. “The Caricature wages war on the government,” Baudelier wrote.  “Daumier plays an important role in this permanent skirmish.”

baudelaire-courbet-smallGustave Courbet (1819 – 1877), “Portrait de Baudelaire,” 1848. Montpellier, musée Fabre. Photo © RMN Grand Palais / Agence Bulloz. When Baudelaire co-founded the ephemeral journal “La Salut Public” in 1848 — it lasted just two issues — it was Courbet who furnished the frontispiece.

By Paul Ben-Itzak
Copyright 2016 Paul Ben-Itzak

(Like what you’re reading? Please support the Arts Voyager by donating through PayPal, designating your payment to, or write us at that address if you prefer to pay by check or in Euros. Based in the Dordogne and Paris, the Arts Voyager is also currently looking for lodging in Paris, Bordeaux, or Lyon. Paul Ben-Itzak is also available for translating, editing, and webmastering assignments.)

In a proposed addition to the preface of the third edition of “Les Fleurs du Mal,” published posthumously, Charles Baudelaire wrote: “If there’s any glory in not being understood, or in being barely understood, I can say in all modesty that, via this little book, I’ve acquired and merited it in one single blow. Offered many times in succession to a series of diverse publishers all of whom pushed it away in horror, pursued and mutilated, in 1857, following an incredibly bizarre misunderstanding, slowly renewed, enlarged, and fortified during some years of silence, vanished once more, this discordant product of the ‘muse des derniers jours,’ once more brightened up by some new violent touches, dares confront, grace of my insouciance, the bright light of stupidity. Don’t blame me; it’s the fault of an insistant publisher who thinks he’s strong enough to brave the disgust of the public. ‘This book will remain all your life like a blemish,’ one of my friends, a grand poet, predicted from the outset. In effect, all my misadventures have, up through now, proven him right.” But the poet not only subjected his own oeuvre to the light of the often ignorant public, critics, and government censors; he also tried to enlighten the public, as one of the premiere critics of Modern Art, helping to define the shape of the discourse along with his fellow Romantic Theophile Gautier (to whom “Les Fleurs du Mal” is dedicated). Retracing the line of this ‘aesthetic curiosity’ — with frequent links to specific critical texts by the author — is the focus of L’oeil de Baudelaire, an exhibition running through January 20 at the Musée de la Vie romantique in Paris to commemorate the 150th anniversary of Baudelaire’s death. Among the works exposed — many bridging the Romantic and Impressionist epochs — are paintings, sculptures, and prints by Corot, Manet, Delacroix, Octave Tasseart, and, above, Courbet and Daumier. (Source for citation: Charles Baudelaire, “Les Fleurs du Mal,” texte de la Seconde Edition suivi des pieces supprimées en 1857 et des addditions de 1868. Edition Critique établie par Jacques Crépet et Georges Blin. Librairie Jose Corti, Paris, 1942.)