Paintings, drawings, illustrations

Idea in progress.

You may have noticed that I attach great importance to the paintings and images that illustrate the articles.
I can spend more time looking for them than writing – and when I don’t find what I like, I walk away in disgust.

And as for everything else, I like everything – or at least: I have no a priori rules. Eclectic is the word.
I haven’t talked about this yet because it’s not totally directly in Altair’s domain.
That everyone keeps their cows is, I think, a good principle of action.
That said, all written communication is now necessarily illustrated.
And Altair will need written communication.


I know – we can do it like everyone else. Which means with in-house graphic designers, having a graphic charter and all the usual ma’am tralalalala.
Plus it saves a whole lot of trouble with people looking at their rights like a mother would look at her infant being attacked by tarantulas. – what am I doing in this world of greedy, frightened virgins? seriously, I don’t belong there.

Utagawa Hiroshige – Sudden Shower

As you know me by now, you know that I don’t like this option – at all.
I really love “graphic” artists – as much as anyone else.

So from here on out โ€ฆ I’ll resort to one of my totem animals – you know the ones I use to tell you how I feel. Today I’m pulling the card: boar.
Charming animal that is not loved to its fullest. Who is characterized by this amazing ability to run straight ahead without worrying about obstacles, knocking down everything in its path and trampling what didn’t move fast enough.
It is said that the boar is not sensitive to the finer points of culture – so this is my card.

If I’m talking about paintings, drawings, watercolors, photographs – I can see them in real life at the moment the artist produces and exhibits them.
Right.
I’ll buy the book if the exhibition is too far away.
Right.
When the exhibition is over, there will be the book left – for not too long.
And then – too bad for the beautiful work, it will be forgotten, like almost all contemporary productions.
Forgotten – but still brooded over as the wonder of the world that will bring so much money to its unfortunate creator –
Forgotten and buried under kilos of lead – because one is not going to give so much money to such a miserly creator.

That’s what’s going on, isn’t it?

The best ones will end up – when they are long dead – in museums.
Wild boar -> evolution into Calydon boar.
If you like to go to the museum – forgive me. Please.

What could be more terrible than going to a museum?
We stand there, looking inspired and intelligent. We don’t talk – respecting other people’s feelings, they are surely infused by the works of art – like water with tea. We infuse, it is serious.

For the “great works” it turns into a comical disaster, hundreds of people crowded around the work, nobody sees anything, we have two minutes and go.
And when you have the astronomical and almost divine luck to be able to see, alone, a monumental work (I won’t give you the trick to be alone at the Uffizi Museum in Florence – but there is a trick), then this masterpiece will be hidden behind at least 8 millimeters of glass – it makes a bluish surface – a bit ugly – and no, even alone in the room, I didn’t really see Botticelli’s Spring.
There was 8 millimeters of glass between us.

On the other hand, it is a matter of checking off on one’s cultural agenda all that one has “seen” – seen = digested = no I am not continuing the chain.
In short – I don’t like museums – I don’t like obligatory admiration – I don’t like being a lukewarm water waiting for the infusion to be diffused – I claim my boar totem to be unpleasant.
And not only I say it, but I also say (I don’t care I say what I want) that museums are probably a diabolical way to make all graphic and pictorial works die.

So I would like to be able to exhibit paintings, photographs, comic book excerpts – anything that I think is relevant to the programming – when it’s relevant to the programming and it will be there – without having to stand in meditation mode to look like a sensitive person. We look – we don’t look – we look another time – we take a bit of the infusion – we come back – we go back – in short we give back to the graphic works what they give us: humanity without words.
As there are no words, there is no need to play the heron in front of each one, wondering on which foot we will land for the next work.
There is a need to see them in real life, to look at them or not, to associate them with other sensations, other feelings, to keep them in memory and see them again afterwards or not.

Utagawa Hiroshige – The Wave

So, when we get into the theme of the sea, I’ll have to be told why we can’t associate the incredible paintings of Japanese painters
And you want to know everything? I don’t care if we don’t exhibit the originals –
All I want is that these works exist and exist ‘in real life’ and not under kilos of cotton to protect them and kilometers of fences so that they bring in money yes yes

Frankly, is this a completely stupid idea?

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Featured Image : The Great Wave – Hokusai

9 Thoughts

  1. When I moved into my last house in 2009, I picked my interior paint colors based on Hiroshigeโ€™s Navaro Rapids. I had a poster in my classroom next to Munchโ€™s The Scream. Both paintings use the same colors, so I coordinated my home that way. Now my walls are grey.

    Liked by 1 person

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