Think 3, 2011.1,
acrylic and media mix on paper, 26.7 x 36.5cm
Issa Barbara Wagner ：Slovacchia:
Barbara Issa Wagner: You Tube-2
私は昔からグリーンとオレンジの組み合わせに弱い。
色だけでまいってしまう。この画家に関しては詳しくはわからない。
PCがほとんど動かなくなってスロヴァキアまで入っていけないのだ。
Ralfonso - UNION - Wind Sculpture in Changchun, China：
頭脳＆才能plus深遠さ・斬新さ：
Ralfonsoから新年のメイルが入った。
風ではなく、光の作品も紹介します。ralfonso. com より。
MICK MICHEYL,この人は自作自演歌手として名を馳せたが元々美術系のひとで、本来の自分の世界に帰ったというべきか。製作中鋼の破片が飛び散って目に入り、視力の一部を喪失した。今は相当高齢で、すでに引退している。彫刻家。
MICK MICHEYL, une voix oubliée：
歌手としてのヒット曲はこちら。大ヒットしたのでご年配の方なら、おそらくご存知の筈。
Mick Micheyl "Un gamin de Paris" ：
・・・・・追記：2012年11月11日・・・・・
参照：Ceci n'est pas une pipe 過去記事：
ドローイング 「現代詩手帖」 1969年1月号 表紙絵原画
インク、墨・紙 1969年 中村宏
語学に関係のない図書は大方処分したので、現代詩手帖は一冊残っているかどうかという状況だが、数年前までは３，４冊はしぶとく残していた。特に68年69年辺りが最高に面白くて何年も捨てきれなかった。中村宏の表紙だとは今の今までしらなかった。このあたりの表紙は全部覚えている。ボロボロになるまで保存していたからだ。「意味不明、気持ち悪い」、
少女だった私の率直な感想の記憶である。
「現代詩手帖」 1969年6月号 表紙絵原画
一番怯えたのはこの6月号だ。↑
今日以下のblogから中村宏を探し出して
彼が現代詩手帖の表紙を担当していたことを知った。
上のblogをクリックしてトークイヴェントを聞いてみた。
非常に明るく楽しくわかりやすく話す人なので意外だった。
中村宏のこの頁へのきっかけは
Linda Hoaglund のドキュメンタリー「ANPO」である。
Linda Hoaglund の中村宏絶賛を聞いて
その流れで懐かしい現代詩手帖に辿り着いた。
はじめまして、中村宏さま。
懐かしい、中村宏さま。
・・・・・追記：2012年6月8日・・・・・
本棚を探すと’69の9月号（表紙↑）が見つかった。
何故これを残したのだろう。
わが友、金石稔の「ハイライト イン ハイライト」故か
わが友、支路井耕治の
「黄金の腐食あるいは復活まえの敗走〈Ⅱ〉」故か
あるいは寺山修司「詩論までの時速100キロ」故か
唐十郎「の唄」故か
はたまた田村隆一「春とおからじ」か
諏訪優「アンダー・グラウンドの再考」か
加藤郁乎「わが新宿！」か
もしかして黒田喜夫「彼岸と主体(二）」か
安藤元雄「虚空と言葉」か...
盛りだくさんだが、もっともっと盛りだくさん
な号が他に無かったわけではない。
中村宏の表紙の一つ目の少女は
（一つ目が豚鼻のように見えて）
少女自身(私）から見ると面白味に欠け「不愉快」以外の何物でもなかった。
実物には緑色の着色がある。そういえば
一つ上の6月号の表紙に於いても長い髪の毛には
たしか朱または赤の着色があったと記憶している。
Youngstown Strike, c. 1937: William Gropper
Paintings of Youngstown Strikes:
Comrades in Art: William Gropper
Video Gropper:
The Life and Art of William Gropper
Chronology: Home Page:
William Gropper 1897-1977:
Heritage Gallery: William Gropper
A NATION’S CONSCIENCE:
William Gropper: Hirohito Cartoon
Art Gropper: Art Hirohito:
bacon and eggs ? Hirohito
We saw him as a quaint, little old man who ate bacon and eggs every morning.
Freud PR and why you eat Bacon and Eggs:
県立美術館で国吉康雄展:
国吉康雄の生涯を映画化へ:
国吉康雄年譜:
Kuniyoshi Yasuo: You Tube
関する記事：Yasuo Kuniyoshi: Between Two Worlds
Becoming American? Asian identity negotiated through the art of Yasuo Kuniyoshi
著者: Shi-Pu Wang,University of California
Ceci n'est pas une pipe:過去記事：
国吉康雄は以前とりあげた。今回は小澤善雄氏の評伝国吉康雄 幻夢と彩感（福武文庫）を読んで、彼が戦時中アメリカ人としてOWIにかかわったことに注目した。
国吉が戦時の宣伝を扱うOWIの事務所を訪ねて戦争に協力したいと申し出たのは3月のはじめであった。上記書籍P.182より。
OWI & OSSとは：Tel Quel Japon過去記事
OWI PACIFIC PSYOP SIX DECADES AGO
OWIでどのような活動をしたのか、どのような立場表明をしていたのか、小澤氏の書物から引用しようと思って取り上げたが、探せばすべて1次資料が見つかった。以下に記す。
Radio Broadcast, "Japan Against Japan", 1942
Office of War Information Poster Project, 1942
（参照：Henry L. Stimson No.1 & No.2 ）
Declaration of Loyalty, Committee of Japanese Artists Resident in New York City, 1941
Japanese-American-Committee-for-Democracy-1943-1944
United Nations In America Dinner, 1943
United China Relief, Inc., 1942
・・・・・・・・・・・・・
"Civilization Besieged: The Artist's Role in War"
Yasuo Kuniyoshi papers, 1921-1993
日本語紹介ペイジ
○『幻の下宿人』（ローラン・トポール） ：
○ローラン・トポール「マゾヒストたち」を知ってますか？ ：
○ローラン・トポールとルネ・ラルー ：
○ちょっと悪趣味かも？ ルネ・ラルー『死んだ時間』 ：
○煩雑ブログ Roland Topor (ローラン トポール) ：
フランス語紹介ペイジ
○Roland Topor, un beau soir... ou peut-etre une nuit... ：
（このタイトルはBarbaraの「黒い鷲」のパロディー）
○Roland Topor par Daniel Colagrossi:
（読まずに聴けるが途中まで）
英語紹介ペイジ
○Roland Topor :
Roland Toporは前ペイジに登場する日本人シャンソン歌手
薩めぐみに歌詞を提供している。アルバム「則天去私」の中にもある
"Monte dans mon Ambulance" と "Je m'aime"の2曲 : Megumi Satsu.Com
//////////////////////////////////////////////////////
以上2009年8月28日記す
・・・・・追記：2011年1月9日・・・・・
偶然薩めぐみが去年2010年の10月18日に
Parisで亡くなった事を知った。
追悼の意味で則天去私の中から
Roland Topor作詞の2曲をYou Tubeにリンクします。
Megumi Satsu - Je m'aime
Megumi Satsu- Monte dans mon ambulance ：
・・・・・追記：2011年1月10日・・・・・
Topor et la chanson 1995 film：
Megumi Satsu CD :
Alexander Calder : Site
Alexander Calder : Video Library
Alexander Calder : Mobile in Philadelphia
Alexander Calder : BLUEWALL
Alexander Calder : You Tube No.1 :
Charlie Rose - ALEXANDER CALDER : Google Video
This work consists of six brushed aluminum hollow rectangles set at 14-inch intervals. Executed in 1978-9, this is one of the artist’s handsomest works
Donald Judd には哲学的解説が必要。
Kawase Noboru氏のサイト : Donald Judd 2: 足りない？
Juddといえば、こちらの感じの作品がよく知られている。
Delvaux finished his studies for a mural painting for the Chaudfontaine Casino.
A retrospective was shown first at the National Museum of Modern Art in Tokyo from 29 March until 5 May and then in Kyoto from 7 June until 13 July.
In May an exhibition of drawings and prints opened at the Galerie du Bateau-Lavoir in Paris. In Brussels Cosmos published the catalogue raisonnof Delvaux paintings up to 1974. It was prepared by Suzanne Houbart-Wilkin, with introductory essays by Michel Butor and Jean Clair.
Delvaux designed the costumes for the Parisian premiere of the ballet La nuit transfigur (Transfigured Night), choreographed by Roland Petit.
The RMFAB in Brussels organised an exhibition, from 8 July to 25 september, entitled Homage to Paul Delvaux. On 1 June Delvaux became, in the capacity of a Foreign Associate Member, a Member of the Institut de France. In October, Homage to Paul Delvaux was organised on the St. George Islet in Lie.
He executed a large painting for the Bourse underground station in Brussels. The town of Furnes elected him honorary citizen.
On 26 January the Free University of Brussels awarded honorary doctorates to Delvaux, Maurice Bart and Jean Starobinski. The Fondation Paul Delvaux was created on 31 October in Brussels. The Paul Delvaux Museum was inaugurated at Saint-Idesbald in June 1982, and was subsequently enlarged in 1983 and 1988.
Works on paper were exhibited at the Centre Wallonie-Bruxelles in Paris.
In Brussels he met Andy Warhol, who made several portraits of Delvaux.
51 works by Paul Delvaux were exhibited, as an homage to the artist, at the XVIth Biennial of Sao Paulo.
He entered a competition to design a ten franc postage stamp. His design was rejected.
On 28 November he was appointed Honorary Station Master of the railway station of Louvain-La-Neuve.
La Galleria Civica drte Moderna du Palazzo dei Diamanti of Ferrara put on a Delvaux retrospective from 20 April to 22 June. Francis de Lulle organised an exhibition entitled Hommage Paul Delvaux at the Centre Wallonie-Bruxelles in Paris.
To honour his 90th birthday, exhibitions were held in Belgium, France, Switzerland and Japan.
In 1987 he received the Septennial Cultural Prize of the Province of Lie
Between 20 January and 19 March the Hypo-Kulturstiftung of Munich held a retrospective of his work in the Kunsthalle. Tam died on 21 December.
Exhibitions devoted to Delvaux took place in different Japanese towns: Tokyo, Osaka, Himeji and Yokohama.
In Paris the Grand Palais held a retrospective covering the period 1922 to 1982.
The Fondation Paul Delvaux payed homage to the artist on the occasion of his 95th birthday.
On 20 July Paul Delvaux died at Furnes. He was buried in the town cemetary.
The Museum voor Moderne Kunst of Ostend organised the exhibition From Ensor to Delvaux from 5 October 1996 to 2 February 1997. To mark the centenary of the artist birth, the RMFAB in Brussels organized, from 21 March to 27 July 1997, the largest retrospective exhibition that has ever been devoted to Delvaux.
The town of Huy exhibited works from his youth, Le pays mosan de Paul Delvaux
(The Meuse Country of Paul Delvaux), from 5 May - 30 September 1997.
On 29 March 1997 the Paul Delvaux Museum at Saint-Idesbald opened a new exhibition room.
First retrospective exhibition in Helsinki, Finland.
The Foundation celebrates its 25th anniversary and organises several happenings. The artist's biography, The Life of Paul Delvaux, is published and in the Paul Delvaux Museum in Sint-Idesbald the exhibition Portraits and Self-portraits by Paul Delvaux is opened. Afterwards the exhibition will move to Japan: Niigata, Miyazaki, Fukuoka, Matsuzakaya, and Fukushima. In addition, a selection of watercolours by Paul Delvaux showing beach scenes will be exhibited for the celebration of the city's 100th anniversary. It has been 10 years now since Paul Delvaux departed, but the Paul Delvaux Foundation still cherishes the memory of this exceptional human being.
From 2 to 22 August the Casino of Knokke-Le Zoute held an exhibition of Paul Delvaux and RenMagritte. He was commissioned to decorate the gaming hall of the Kursaal, Ostend. On 25 October he married Tam.
Alain Robbe-Grillet novel Les Gommes (The Erasers) was published. A film was made out of it, for which Delvaux later designed the sets in 1968.
He worked for two years with Emile Salkin on the mural paintings for the library of Gilbert Pier house in Brussels. Delvaux took part in the XXVIIth Biennial of Venice whose theme was The Fantastic in Art. The pictures he sent in were of religious subjects in which the human roles were taken by skeletons. The Patriarch of Venice, Cardinal Roncalli, the future John XXIII, considered those works heretical.
The Delvaux couple moved into 34a avenue des Campanules in Boitsfort. From this time onward, trains, railway stations, suburbs and the forest often appeared in his paintings. In 1955 Paul Delvaux was awarded the Reggio-Emilia Prize. The journey he made to Greece in 1956 had a strong impact on his work. Settings of architectural elements taken from classical antiquity date from this period.
From 23 March to 11 April the Cercle royal artistique et littaire de Charleroi mounted an homage to Paul Delvaux and Marc Chagall.
Delvaux carried out the large mural painting in the Palais des Congr in Brussels.
He executed a mural painting for the Zoological Institute of Lie University and was awarded a Grand Prix de Peinture by the Province of Lie.
Paul Delvaux was appointed as a member of the Modern Painting Committee of the RMFAB, Brussels. The last meeting of the Committee in which he took part was that of 18 December 1978 when he was 81 years old.
From 1 July to 31 August the Museum van Schone Kunsten in Ostend held a major retrospective exhibition of Paul Delvaux work. Several pictures, notably La visite (The Visit), caused a scandal. Admission to the exhibition was forbidden for minors.
On 10 October the Royal Academy of Belgium appointed him Deputy Director of the Fine Arts Section.
The Yearbook of the Royal Academy of Belgium published articles by Delvaux on Alfred Bastien and James Ensor.
He was awarded the quinquennial prize for lifetime achievement and was appointed President and Director of the Fine Arts Section of the Royal Academy of Belgium. He made his first lithographs at the Galerie du Bateau-Lavoir, Paris, at Mira Jacob.
From 9 November to 31 December the Mus des Beaux-Arts in Lille held a Paul Delvaux retrospective.
From 16 November to 7 December the Mus dxelles exhibited a retrospective of the artist work. Paul-Aloe De Bock major monograph on Delvaux - the first in French - was published by Laconti in Brussels.
He took part in the XXIXth Biennial of Venice. The Place Paul Delvaux was inaugurated in Antheit on 22 September.
The Mus des Arts doratifs in Paris held a Paul Delvaux retrospective.
The Galerie du Bateau-Lavoir in Paris held an exhibition of his prints and drawings.
From early summer he lived for half the year in Furnes near the town park and close to Saint-Idesbald where he had used a little house-cum-studio several months a year for some twenty years.
The Mus de Peinture et de Sculpture of Grenoble held an exhibition of Paul Delvaux paintings, watercolours and pen-and-ink drawings from 11 March to 12 April.
Henri Storck made a new film on Paul Delvaux work, Paul Delvaux ou les femmes dendues (Paul Delvaux or the Forbidden Women). RenMicha wrote the script.
In February an exhibition of his drawings and prints opened in Paris at the Galerie du Bateau-Lavoir. The Grand Palais, also in Paris, organised in February and March the exhibition Peintres de lmaginaire: Symbolistes et surrlistes belges (Painters of the Imaginary: Belgian Symbolists and Surrealists), which included a major contribution by Delvaux. On 11 April Paul Delvaux received the Rembrandt Prize, awarded by the Johann Wolfgang Goethe Foundation in Basel.
Renilde Hammacher organised a retrospective of Paul Delvaux work at
the Museum Boymans-Van Beuningen, Rotterdam from 13 April to 17 June. The same exhibition travelled to the Casino of Knokke-Heist where it was on view from 23 June to 2 September.
He painted Le Mus Spitzner (The Spitzner Museum), more than ten years after the first picture to bear that title. From 16 December to 14 January the Palais des Beaux-Arts in Brussels organised a Paul Delvaux retrospective exhibition. He made a contract with Claude Spaak. Between May and June, in the same Palais des Beaux-Arts in Brussels, the exhibition Jeune Peinture franise (Young French Painting) was held which included works by Edouard Pignon and AndrFougeron. Delvaux stayed several times at the home of the sculptor Georges Grard in Saint-Idesbald. He lived for a while in Paris and made a series of drawings illustrating texts by Claude Spaak. In London he met Paul Eluard at the house of Roland Penrose. In May twenty-seven works by Pablo Picasso were shown at the Palais des Beaux-Arts in Brussels. According to Barbara Emerson, Delvaux visit to this exhibition as well as to the Jeune Peinture franise show of the preceding year explain a sudden but short-lived change of style on the part of the artist. This change can be observed in a series of pictures from that time, such as Les cariatides (The Caryatids) and Lscalier (The Staircase). In this year Guy de Maupassant novel Bel Ami was adapted for the cinema. Hollywood organised a competition on the theme of the temptation of St. Anthony. Delvaux entered together with other famous artists such as Salvador Dali and Max Ernst. Ernst was the winner. Paul Delvaux one-man show held in October at the Julien Levy Gallery, New York, met with a very favourable reception from the critics. Two pictures sent to the exhibition were, however, seized by the American customs because of their allegedly obscene character. A third canvas was damaged by nails during the customs formalities. Carelessness? Delvaux executed the scenery for Jean Genet ballet dame Miroir whose first performance was given at the Marigny Theatre in Paris. On 13 August he encountered by chance at Saint-Idesbald Anne-Marie de Martelaere, who had remained unmarried. The passage of time had evidently not affected their mutual love. In January and February he exhibited at the Galerie RenDrouin in Paris. The show was not a complete success. The first film devoted to Delvaux, Le monde de Paul Delvaux (The World of Paul Delvaux), gained a prize at the Venice Festival. It was made by Henri Storck, the Belgian film director. The script was by RenMicha, the musical accompaniment by AndrSouris and the narration by Paul Eluard. Claude Spaak devoted one of the Monographies de lrt belge (Monographs of Belgian Art), published by the Ministry of Public Instruction, to Delvaux. The publisher Trois Collines (Geneva - Paris) published Poes, peintures et dessins (Poems, Paintings and Drawings) which took the form of a collection of poetry by Paul Eluard with drawings and pictures by Paul Delvaux. He took part in the XXIVth Biennial of Venice . The work he sent in, Pygmalion, was not to the taste of the Patriarch of Venice and was charged with being immoral. On the facade of the house and studio of Georges Grard he painted a large mermaid. No trace of the fresco remains. Emile Langui book on Paul Delvaux was published by Alfieri in Venice. Delvaux stayed for several months with his friend Claude Spaak at Choisel in the Chevreuse Valley to the southwest of Paris. He returned to Brussels and installed himself with Tam in a small flat opposite Boitsfort Church. Delvaux was appointed Professor of Painting at the Ecole Nationale Supieure drt et drchitecture at La Cambre in Brussels. He taught at La Cambre until 1962.
In January he exhibited the Vus endormie at the Atelier de la Grosse Tour in Brussels. The critical reactions were unfavourable. The Palais des Beaux-Arts in Brussels organised a one-man exhibition of Delvaux work from 9 to 22 December. In May and June the Palais des Beaux-Arts in Brussels housed the Minotaure exhibition which included eight pictures by Giorgio de Chirico, six by Salvador Dali and five by Magritte. Delvaux was particularly interested by the Chiricos. The double and essential discovery, that of the work of Chirico and that of Surrealism, was the basis of a decisive development in Delvaux art. Shortly after visiting this exhibition, Delvaux went to stay at Spy, a small Walloon village, where he made, in June, a series of drawings and watercolours, foundations for his new aesthetic. There he painted also Femmes et pierres (Women and Stones), the only known work surviving from his stay at Spy and belonging to the E.L.T. Mesens collection. The unfriendly and desolate landscape with far-flung shadows, the classical architecture and the naked women with vacant expressions and adopting demonstrative poses foretell his essential later development. In January he painted Le paravent (The Screen) and in February Le palais en ruine (The Palace in Ruins), two pictures strongly marked by Surrealism. From 25 April to 6 May the Palais des Beaux-Arts in Brussels held an exhibition of work by Paul Delvaux and RenMagritte. Despite the influence of Surrealism on his art, Delvaux preserved his own style and chose his subject matter with a spirit of independence. He painted Le viol (The Rape), which was reproduced in the review Minotaure, no. 10 of 1937. The painting has disappeared. His father died. After the opposition shown by his parents to his relationship with Anne-Marie de Martelaere and their eventual marriage, he married Suzanne Purnal. Mesens put together the Belgian contribution to the international exhibition organised in London by the Artist International Foundation (14 April - 5 May). Delvaux formed part of the Belgian contingent with Van Assche, Brusselmans, De Smet, Magritte, Servranckx and Van den Berghe. The exhibition was put on by a congress of British artists and writers on the theme of the unity of artists in defending peace, democracy and cultural progress. He took part in the International Surrealist Exhibition organised by AndrBreton and Paul Eluard at the Galerie des Beaux-Arts in Paris (January and February). Paul Eluard dedicated the poem Exil (Exile) to Delvaux. He also took part in the International Exhibition of Surrealism held at the Robert Gallery in Amsterdam, which was organised by Kristians Tonny (March - June). From 2 June to 2 July Mesens arranged an exhibition of 17 pictures by Delvaux at the London Gallery that he ran in London. He was awarded the prize of the Acadie Picard and made his first journey to Rome and Florence. Delvaux painted Les phases de la lune (Phases of the Moon). Jules Verne Professor Lidenbrock appeared as the principal figure in the picture. He made a second journey to Italy with Paul-Aloe De Bock. Apart from Florence they included Pompeii and Herculanum in their tour. During this period antique architecture started to become increasingly important as the setting for his pictures. He took part in the International Exhibition of Surrealism organised by AndrBreton, Wolfgang Paalen and Cesar Moro at the Galeria de Arte Mexicano in Mexico. He began La ville inquie (The Anxious City) which he finished in 1941. It is one of the few pictures by Delvaux to be inspired by contemporary events. He regularly visited the Natural History Museum in Brussels where he drew skeletons. Skeletons were to feature prominently in the compositions in which studios, offices and lofts provided the setting. His picture Pygmalion was reproduced in the review Lnvention collective of February 1940.