Intellectuels et artistes sous l’occupation : Et la fête continue PDF

Lucy Renee Mathilde Schwob, was a French photographer, sculptor and writer. Lucy Renee Mathilde Schwob adopted the gender-ambiguous name Claude Cahun in 1917 and is intellectuels et artistes sous l’occupation : Et la fête continue PDF known for self-portraits, in which she assumed a variety of personas.


À quoi ressemblait la vie de Sartre et de Beauvoir sous l’Occupation allemande ? Comment Picasso contournait-il l’interdiction officielle de son oeuvre ? Comment artistes et intellectuels ont-ils vécu cette époque de peur et de restrictions ? Quelle liberté créatrice leur restait-il ?… La vie culturelle française ne s’est pas arrêtée après la défaite de 1940. Rapidement, théâtres, cinémas, galeries et boîtes de nuit ont rouvert leurs portes, pour assurer la subsistance des artistes et divertir un peuple démoralisé. Saviez-vous aussi que le frère de notre bon commandant Cousteau était un collaborateur de la première heure ? Que Dina Vierny, la muse de Maillol, faisait passer des clandestins depuis la gare de Banyuls ? Que Gerhard Heller, officier nazi, a joué un rôle majeur dans la vie culturelle française et a sauvé la vie de Jean Paulhan ? Alan Riding retrace dans cet ouvrage formidablement documenté le parcours des chanteurs, écrivains, peintres ou acteurs del’époque, et explore leurs cas de conscience. Était-ce collaborer que de se produire devant un public en partie allemand, comme le firent Maurice Chevalier et Édith Piaf ? Était-ce manquer de patriotisme que de publier des romans ou de réaliser des films pendant la guerre, comme le firent Albert Camus et Marcel Pagnol ? Sans céder à un moralisme stérile, cette enquête vivante et rigoureuse conduit, à travers une mosaïque de portraits, à questionner la responsabilité de l’artiste en période de troubles.

Her work was both political and personal, and often undermined traditional concepts of static gender roles. I will never finish removing all these faces. Born in Nantes in 1894, Cahun was born into a provincial but prominent intellectual Jewish family. Surrey after experiences with anti-Semitism at her high school in Nantes. She attended the University of Paris, Sorbonne.

For the rest of their lives together, Cahun and Moore collaborated on various written works, sculptures, photomontages and collages. Around 1922 Claude and Moore began holding artists’ salons at their home. Among the regulars who would attend were artists Henri Michaux and André Breton and literary entrepreneurs Sylvia Beach and Adrienne Monnier. Cahun’s works encompassed writing, photography, and theatre. She is most remembered for her highly staged self-portraits and tableaux that incorporated the visual aesthetics of Surrealism. During the 1920s Cahun produced an astonishing number of self-portraits in various guises such as aviator, dandy, doll, body builder, vamp and vampire, angel, and Japanese puppet. In 1932 she joined the Association des Écrivains et Artistes Révolutionnaires, where she met André Breton and René Crevel.

47, alongside the work of two young contemporary British artists, Virginia Nimarkoh and Tacita Dean, entitled Mise en Scene. In 2007, David Bowie created a multi-media exhibition of Cahun’s work in the gardens of the General Theological Seminary in New York. You could call her transgressive or you could call her a cross dressing Man Ray with surrealist tendencies. I find this work really quite mad, in the nicest way. Outside of France and now the UK she has not had the kind of recognition that, as a founding follower, friend and worker of the original surrealist movement, she surely deserves.

Meret Oppenheim was not the only one with a short haircut. Nothing could better do this, I thought, than to show her photographs through the digital technology of the 21st century and in a setting that embraces the pastoral sanctuary of her last years. Cahun’s work was often a collaboration with Marcel Moore. Cahun and Moore collaborated frequently, though this often goes unrecognized. It is believed that Moore was often the person standing behind the camera during Cahun’s portrait shoots and was an equal partner in their collages.

With the majority of the photographs attributed to Cahun coming from a personal collection, not one meant for public display, it has been proposed that these personal photographs allowed for Cahun to experiment with gender presentation and the role of the viewer to a greater degree. In 1937 Cahun and Moore settled in Jersey. Following the fall of France and the German occupation of Jersey and the other Channel Islands, they became active as resistance workers and propagandists. Fervently against war, the two worked extensively in producing anti-German fliers. In 1944, Cahun and Moore were arrested and sentenced to death, but the sentence was never carried out as the island was liberated from German occupation in 1945.

However, Cahun’s health never recovered from her treatment in jail, and she died in 1954. Claude Cahun’s gravestone in the cemetery of St. Cahun made work for herself and did not want to be famous. It wasn’t until 40 years after her death that Cahun’s work became recognized.

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