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It is hard to consider such hypotheticals, and I doubt if we should trust our first intuitions about them, but, for what it is worth, I surmise that we almost all want a world in which love, justice, freedom, and peace are all present, as much as possible, but if we had to give up one of these, it wouldn't — and shouldn't — be love.
But, sad to say, even if it is true that nothing could matter more than love, it wouldn't follow from this that we don't have reason to question the things that we, and others, love. Love is blind, as they say, and because love is blind, it often leads to tragedy: to conflicts in which one love is pitted against another love, and something has to give, with suffering guaranteed in any resolution. Love one another, but make not a bond of love: Let it rather be a moving sea between the shores of your souls.
Give one another of your bread, but eat not from the same loaf. Sing and dance together and be joyous, but let each of you be alone, Even as the strings of a lute are alone though they quiver with the same music. For only the hand of Life can contain your hearts. There's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say but you can learn how to play the game It's easy. We all been playing those mind games forever Some kinda druid dudes lifting the veil.
Doing the mind guerrilla, Some call it magic — the search for the grail. Love is the answer and you know that for sure. Love is a flower, you got to let it — you got to let it grow. We have come by curious ways To the Light that holds the days; We have sought in haunts of fear For that all-enfolding sphere: And lo! Deep in every heart it lies With its untranscended skies; For what heaven should bend above Hearts that own the heaven of love?
If you believe in peace , act peacefully; if you believe in love, acting lovingly; if you believe every which way, then act every which way, that's perfectly valid — but don't go out trying to sell your beliefs to the system. You end up contradicting what you profess to believe in, and you set a bum example. If you want to change the world , change yourself. There are three lessons I would write, — Three words — as with a burning pen, In tracings of eternal light Upon the hearts of men. Have Hope. Though clouds environ now, And gladness hides her face in scorn, Put thou the shadow from thy brow, — No night but hath its morn.
Have Faith. Where'er thy bark is driven, — The calm's disport, the tempest's mirth, — Know this: God rules the hosts of heaven, The habitants of earth. Have Love. Not love alone for one, But men, as man, thy brothers call; And scatter, like the circling sun, Thy charities on all. Thus grave these lessons on thy soul, — Hope, Faith, and Love, — and thou shalt find Strength when life's surges rudest roll, Light when thou else wert blind. Before our lives divide for ever, While time is with us and hands are free , Time, swift to fasten and swift to sever Hand from hand, as we stand by the sea I will say no word that a man might say Whose whole life's love goes down in a day; For this could never have been; and never, Though the gods and the years relent, shall be.
Is it worth a tear, is it worth an hour, To think of things that are well outworn? Of fruitless husk and fugitive flower, The dream foregone and the deed forborne? Though joy be done with and grief be vain, Time shall not sever us wholly in twain; Earth is not spoilt for a single shower; But the rain has ruined the ungrown corn. I had grown pure as the dawn and the dew, You had grown strong as the sun or the sea. But none shall triumph a whole life through: For death is one, and the fates are three. At the door of life, by the gate of breath, There are worse things waiting for men than death; Death could not sever my soul and you, As these have severed your soul from me.
You have chosen and clung to the chance they sent you, Life sweet as perfume and pure as prayer. But will it not one day in heaven repent you? Will they solace you wholly, the days that were? Will you lift up your eyes between sadness and bliss, Meet mine, and see where the great love is, And tremble and turn and be changed? Content you; The gate is strait; I shall not be there. The pulse of war and passion of wonder, The heavens that murmur, the sounds that shine, The stars that sing and the loves that thunder, The music burning at heart like wine, An armed archangel whose hands raise up All senses mixed in the spirit's cup Till flesh and spirit are molten in sunder — These things are over, and no more mine.
These were a part of the playing I heard Once, ere my love and my heart were at strife; Love that sings and hath wings as a bird, Balm of the wound and heft of the knife. Fairer than earth is the sea, and sleep Than overwatching of eyes that weep, Now time has done with his one sweet word, The wine and leaven of lovely life.
Sweet is true love though given in vain , in vain; And sweet is death who puts an end to pain: I know not which is sweeter, no, not I. Love, art thou sweet? O Love, if death be sweeter, let me die. Here her hand Grasped, made her vail her eyes: she looked and saw The novice, weeping, suppliant, and said to her, "Yea, little maid, for am I not forgiven? O shut me round with narrowing nunnery-walls, Meek maidens, from the voices crying 'shame.
I must not scorn myself: he loves me still. Founded by art director, editor and publisher Lucien Vogel for an exclusive clientele, it quickly became the leading French fashion journal of its day. After encountering engravings from the original nineteenth- century Journal des dames et des modes while visiting the country home of a friend, Vogel decided to launch his own de luxe fashion magazine, Gazette du bon ton, in November Its sixty-nine issues were published from to and from to , with a hiatus precipitated by World War I.
Its diverse and witty articles on a wide range of topics, from literature to theatre to arranging centrepieces for the table, were intended to promote the elegant lifestyle of the period and entertain the reader. The highest standard of production was maintained using quality paper. Each of its issues included thirty pages of text accompanied by eight to ten pochoir-coloured prints which illustrated designs from such eminent Paris couturiers as Worth, Paquin, Beer, Lanvin, Redfern and Vionnet. Along with the ceramic artist Jean Besnard , the core group was nicknamed by Vogue the chevaliers du bracelet knights of the bracelet for their dandyish attire, flamboyant mannerisms, dapper appearance, and common practice of sporting a bracelet.
Curiously the surviving images of Barbier himself do not reflect such an overly-affected style as personified by Oscar Wilde, but rather, they embody the definition of elegance defined by Veber. In Barbier completed a watercolour self-portrait showing the artist at work drawing a costume worn by a model. In Barbier incorporated an image of himself in an advertisement for a fashion house in Alsace. Vaudoyer first met Barbier in when his patron, art conservator Louis Metman , introduced them while visiting the Louvre. But they often went a step further by incorporating scenes that were suggestive of a story unfolding in the background.
He used such devices as a mysterious letter, a flirtatious gesture, or a furtive gentleman lurking nearby. The gown Barbier illustrated in this pochoir is a design from the House of Worth, a leading Parisian fashion house that specialized in haute couture. It was founded by Charles Frederick Worth in and operated until The brand name House of Worth was revived in Its exclusiveness and expensive mode of production led to its early demise, and it was curtailed after only seven volumes.
The de luxe copies were signed and numbered by the artist and the printer. For one of his images Barbier chose to depict the Persian tale of Sheherazade with the heroine attired in a typical Paul Poiret gown distinguished by its long flowing style and accessorized by a turban with ornament. He also incorporated elements of orientalism, inspired by the radical new sets and costumes of the Ballets Russes.
Since no extant copies of this title may be found in Canada, the compendium limited edition reprint by Santo Alligo, with an introduction in Italian by Giuliano Ercoli, was selected for the Fisher exhibition. It celebrated classical Greek themes and mythology, with the title derived from the myth of Anteros, son of Ares and Aphrodite, brother of Eros, the winged god of requited love.
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Included among the illustrated classical tales is the story of the Gorgon monster Medusa who was beheaded by Perseus. The copy from the George Grant Collection includes the additional set of drawings. The pochoir technique was used to render the thirteen illustrations, some full-page, for Dix-sept dessins de George Barbier sur le Cantique des cantiques in a combination of black and burnished gold. Greek vase paintings appear to have influenced elements of his illustrations, from the poses and simple lines to the style and draping of the gowns.
Beginning in Barbier commenced work on a new venture — the illustration of five exquisite little annual almanacs in octavo format entitled La Guirlande des mois published by Jules Meynial from to The early volumes often included images of men in military uniform. In addition to the pochoir illustrations, Barbier contributed articles from to on such diverse topics as the Ballets Russes, epigrams, opera and the pleasures of love.
The little volumes were bound with Bodoni board covered with white satin and painted with Barbier illustrations, accompanied by dust jackets and slip cases. Each volume contained six pochoir coloured plates. The plates for the final volume were executed by the master printer Robert Coulouma. Another project completed by Barbier during the war years was the six uncoloured illustrations and painted white satin binding design for Livre de madame, edited and printed by Maquet in as a marketing tool for the American merchant John Wanamaker of Philadelphia.
Regarded in America as the father of modern advertising, Wanamaker expanded his retail empire to include department stores in New York, London, and Paris, where he also maintained residences. This volume is comprised of a calendar, pages for notes, and a collection of poems. The dust jacket design for this miniature book was created by Barbier, and bears the spine title La Guirlande des mois, which was also the title given to the set of five octavo almanacs of Barbier produced between and Each portfolio was comprised of six fascicules containing ten wood engravings by Schmied, each bearing the signature of the artist.
Only three extant copies are known to reside in public institutions, including the copy at Toronto Public Library. Two of the prints have been loaned to the exhibition by Robert Wu. One print bears the inscription Aggressus ressurgo, and illustrates the Battle of the Amazons. The inspiration for this illustration comes from Greek mythology. According to legend the Amazons were all-female warriors who were often depicted in classical art engaged in battle with Greek warriors.
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The ancient Greek historian Herodotus situated them in a region bordering modern day Ukraine. Other historiographers have placed them in Asia Minor and Libya. Their kingdom was governed by a queen, Hippolyta. This print was identified as the artiste exemple. The second print, number of five hundred, is captioned Le Cavalier blanc.
Paris became home to artists, writers and performers from around the world. A proliferation of book clubs for bibliophiles spurred a market for finely-printed and beautifully illustrated volumes. Once again the Gazette featured illustrations and articles by Barbier. While a number of the illustrators moved to Vogue, Barbier appears not to have done so. After the merger he is credited with only one contribution to Vogue, in Boulenger was noted for his satirical literary works and autobiographies of fictional characters.
They were wood-engraved using two tones by Georges Aubert The French dramatist, poet and novelist Musset is more famously remembered for his autobiographical novel that celebrated his three-year love affair with George Sand, the Baroness Dudevant Having proven successful as a fashion and book illustrator, the post-war period saw Barbier devote much of his career to the theatre and music halls where he was regarded as one of the leading costume designers in Paris.
While his passion was costume design, he also engaged in set designs of which there are few surviving illustrations. His settings were restrained neutral backgrounds which allowed the elaborate and colourful costumes to stand out on stage. Barbier designed the costumes for two productions of Casanova, a play in three acts written by Maurice Rostand He provided his designs to his American clients through the costume and set design studio of Max Weldy, and they were manufactured in New York by the Brooks Costume Company.
Barbier was hired by Valentino and his second wife, the American-born costume and set designer Natacha Rambova , to design the costumes for Monsieur Beaucaire after they had observed his designs for a production of Casanova while on their honeymoon in Paris in The three hundred costumes for the film were made in Paris under the direction of Rambova, but the principal costumes are attributed to Barbier.
The idolized Valentino was greatly admired by Barbier as the quintessential embodiment of the eighteenth-century gentleman. The attractiveness of this fine face lies not only in the regular features, but also in the caressing, sensual expression that veils his look, animates his nostrils, tightens his lips and leaves few women indifferent. He died very shortly thereafter from a ruptured appendix, and a million New Yorkers lined the streets for his funeral. Barbier further embellished the text with a host of smaller vignettes, as well as numerous inhabited initials which introduce each chapter.
Its cover, title-page, textual vignettes, and seven full-page illustrations were wood-engraved in two tones by Georges Aubert. Following the publishing success of his petit almanac La Guirlande des mois from to , Barbier continued his relationship with the publisher and bookseller Jules Meynial with a sequel.
This new venture permitted Barbier to exercise his flights of fancy and sentimentality. His youthful images often portrayed hints of romance and intrigue, with historical settings that were purely imaginative and whimsical. The volume was especially creative with its depictions of the seven deadly sins. For the pochoir print captioned Le Long du Missouri, Barbier imagined the Indian princess Pocahontas in a canoe with the Englishman Captain John Smith, whose life she is alleged to have saved at Jamestown, Virginia, by laying her head on his as her father was about to execute him with a war club.
The almanac featured the comtesse Mathieu de Noailles They were printed in colour by Pierre Bouchet, and enriched with silver and gold. Each leaf of text was bordered with a decorative frame. The volume included twenty-two wood-engraved initials as well as decorative devices throughout the text. In this print, a young Eros is suspended in mid-air to represent the loss of passion upon the death of Adonis.
Barbier drew upon oriental influences to create the tree which symbolized the arboreal attributes of the cult of Helen. He juxtaposed this oriental element with a classical Greek column and two satyrs on the opposite side of the print. The copy of this autographed album, numbered copy three, from the George Grant Collection at the Thomas Fisher Library, was given a contemporary Art Deco-style leather binding in commissioned from Toronto bookbinder Robert Wu.
- La signora della lampada by Gilbert Sinoué (3 star ratings).
- The Divorce Decision;
- Voices of Evil;
Barbier illustrated a unique volume of Les Chansons in using his pseudonym of E. Larry owing to the controversial content of the story. At the initiative of Pierre Corrard, Barbier began illustrating the text for publication early in his career. However, Corrard died in during the war, and the project came to a halt. It was revitalized by his widow Nicole Pierre Corrard and completed for publication in No extant copies of either edition are known to exist in Toronto.
Giovanni-Giacomo Casanova wrote an autobiography detailing his exploits, as well as describing eighteenth- century society in a number of major European cities, which was published posthumously. His illustrations were in two-toned wood engravings by Georges Aubert. The Paris publisher A. Mornay published a series of illustrated novels in its series Les Beaux livres. The Mornay series was admired for its integration of story and illustration, as well as its layout, which employed wrap-around text, inhabited initials, and textual vignettes.
The copy of Le Roman de la momie in this exhibition, on loan from the Royal Ontario Museum, was rebound in leather in by Toronto book artist and binder Robert Wu with an Art Deco inspired design, marbled endpapers, and French-style chemise and slip case. This ambitious album took him four years to complete. Its sixteen engraved plates incorporated elements of Parisian high society, observed in a beach scene captioned Au lido and the conclusion of an evening party in Au revoir. Unfortunately no extant copies with its brilliant pochoirs are known to exist in Canada. A single pochoir plate from the album was recently acquired by the Fisher Library.
This work allowed Barbier to return to a familiar theme, that of classical Greece with its emphasis on youth and physical beauty. In addition to the plates, Barbier embellished the text with vignettes and inhabited initials. The role of commercial artist was a major function of Barbier, with his illustrations and designs promoting a variety of merchandise. One such endeavour had a Canadian connection. In he completed a watercolour for an Elizabeth Arden cosmetics premiere in New York that reflected once again his love of Orientalism.
Marty, with individual plates by Barbier and several of his contemporaries. In Hudnut, the first successful American perfumer, published The Romance of Perfume, with text by the English author and poet Richard Le Gallienne that traced the history of perfume through the ages and across different cultures. Barbier provided full-page illustrated scenes showing the use of perfume in China, ancient Greece, ancient Rome, Egypt, India, Persia, Elizabethan England, and eighteenth-century France. His images were reproduced for the book using a photoengraving technique known as the Smithsonian Process, executed by the printing house of William Edwin Rudge in Mount Vernon, New York.
Each menu cover bearing a Barbier illustration of period fashions had a descriptive title. An undated volume from this period featured a classical dance scene in which Barbier drew upon Egyptian influences. The introductory text was written by the French writer Louis Marsolleau Moussinac was a member of the French Communist party and a prominent French film critic who promoted the showing of Soviet films in Paris during the s. The famous French poet Paul Verlaine , who was closely associated with the Symbolist movement, authored a volume of poems republished by H. His character is usually performed unmasked, with a whitened face, and attired in a loose white blouse with large buttons, white pantaloons, and a frilled collaret.
Pierrot is often interpreted as the alter-ego of the artist, a lonely fellow-sufferer whose only friend is the distant moon.
One of the most impressive volumes illustrated by Barbier was a new edition of Les Vies imaginaires by the French Jewish writer Marcel Schwob , published by Le Livre contemporain in Schwob selected twenty-two historical characters, both famous and infamous, for his text. No extant copies of this title may be found in Canada. As early as Barbier complained to friends of being unwell. By he suffered from an illness which remains a mystery. He continued to work on one of his last projects throughout and , the illustrations for a new two-volume edition of the novel Les Liaisons dangereuses by Pierre Choderlos de Laclos Barbier died on 15 March at the age of The work was published posthumously two years later by Le Vasseur et Cie.
In his other illustrated works, Barbier always took a hands-on approach to their production. The volume was never published. Throughout his career Barbier was a prolific contributor of illustrations and articles to a number of popular French and English magazines of his day, in addition to those already mentioned in the exclusive Journal des dames et des modes and Gazette du bon ton.
It featured witty cartoons, short stories, poetry, and celebrity gossip disguised by pseudonyms. Its titillating images often featured graceful semi-nude or scantily-clad women in compromising poses, erotic but never explicitly sexual. Only sixty copies were printed for distribution to his friends. The actual manuscript was written on various hotel letter head from Toulon and Marseilles. There are no known copies of this book in public institutions except for the copy on exhibit from the Royal Ontario Museum. Paris jeweller, art collector and bibliophile Henri Vever was an avid collector of Japanese prints.
Henri, along with his older brother Paul, managed the family jewellery firm Maison Vever from to As one of the premiere jewellers in Paris, he was able to finance the acquisition of a large private collection of European, Asian, and Islamic art. The Japanese woodblock prints reproduced for the article and displayed in the exhibition were by the eighteenth-century artist Suzuki Harunobu ? The tradition of colouring prints using stencils, known in France as au pochoir, dates to at least the fourteenth century in Western Europe.
This exposition, celebrating post-war French decorative and applied arts, was an opportune occasion to emphasize the importance of pochoir for illustrating the French art books of the Art Deco period. By the time it closed in October , over sixteen million people had attended the exposition. It was both a technical and an historical treatment of the technique, and an album of examples of exquisite pochoir illustrations. A choice between photomechanical or engraving techniques then had to be made which would match the character of the original design as closely as possible.
The composition was then analyzed and broken down into areas of different colour, making a pochoir or patron stencil for each cut-out of a thin sheet of zinc or copper. This was preferred to the oiled card which had been used earlier. Other patrons or stencils were used to conceal the joins, and small pieces tenons were saved to connect complex or excessively large cut-out areas. Once the cutting out of the stencils was complete, the designer took over the fine tuning of the colour tones and densities and then shared out the work among the craftsmen, each of whom was assigned a patron.
The colouring was done with various-shaped brushes of different sizes brosses, pompons and goujons , which were used with great skill to produce variations and effects of shading.
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The final hurdle for the craftsmen was the careful removal of the patron without smudging the image. Several exquisite examples of pochoirs by major Art Deco illustrators have been incorporated into the Fisher exhibition. His close social circle included the French composer Maurice Ravel The album comprised sixty designs printed on twenty folio plates.
His illustrations were noted for their scientific accuracy. The Spanish-born artist Eduardo Garcia Benito illustrated a portfolio of twelve designs from the Paris firm of Fourrures Max. This portfolio was designed to emulate an illustrated edition of the literary masterpiece, Lettres persanes, by the French philosopher Montesquieu , published in This portfolio of Art Nouveau stencil designs for walls, ceilings, and friezes is a fine example of pochoir by the master of the technique of stenciling.
The typography was by Louis Kaldor. Several examples from album number four in the set have been selected for the Fisher exhibition. In addition to the costumes, Picasso also designed the drop curtain and a stage set. The album was issued in a limited edition of , of which fifty included a signed Picasso etching.
The pochoir on exhibit is from album number seventy four of the two hundred lacking the signed etching. He admired the libertine works of nineteenth-century French artists Pierre Numa Bassaget ? They were noted for their ornamental pieces, including clocks, vases, and statuettes.
A highlight of the exhibition is an album of twenty-five original drawings on loan from the Royal Ontario Museum, circa The album includes a drawing for the cover title of Cantique des cantiques, as well as sketches for fashion plates, book illustrations, and designs for ballet and stage.
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It was known as a novelties shop that marketed the latest fashions, jewellery and fabrics to a well-to-do female clientele. The volume illustrated by Barbier featured table linens and elaborately trimmed undergarments, with vignettes of ladies engaged in such activities as playing tennis, boating, skiing, riding, golfing and dining.
With his death on 15 March , Barbier passed into obscurity. His funeral was held four days later at in the morning in his native city of Nantes.