#Léon Valade

[ochoislas]

LINDE DEL BOSQUE                 a Maurice Bouchor

Costea la vereda el hondo bosque por filo del trigal vasto y amarillo. Raya una nube sólo el liso añil; rubia y sensual es la noche de estío.

Reposa el mundo bajo inmensa calma. Sin fin se sumen horizontes vagos. Al borde vaporoso del estanque baja la grupa llena de las lombas.

Parejos, de entre aljofarada yerba, lejos asoman ahinojados bueyes que sacuden los graves esquilones.

Queja de oboe suspira en la fuente... y hete un tremor que corre por la selva donde apremia a las hadas luna maga.

*

LISIÈRE DE BOIS                    À Maurice Bouchor

Le chemin d'un côté suit la forêt profonde Et de l'autre est bordé par le grand blé jauni. — Un seul nuage blanc raye l'azur uni; C'est la nuit : nuit d'été voluptueuse et blonde.

On sent que le repos tranquille est sur le monde. Les vagues horizons plongent dans l'infini. Jusqu'aux bords de l'étang par les vapeurs terni La croupe des coteaux s'abaisse molle et ronde.

Tels, parmi la blancheur fine des prés mouillés, Apparaissent là-bas ces boeufs agenouillés, Secouant quelquefois de graves sonneries.

Ce bruit de source semble un soupir de hautbois... Et voici qu'un frisson passe dans les grands bois Où la Lune magique éveille les féeries.

Léon Valade

di-versión©ochoislas

#Léon Valade #literatura francesa #poesía parnasiana #verano #bosque #linde #magia #di-versiones©ochoislas

[geritsel]

Henri Fantin-Latour - By the Table, group portrait of Poètes Maudits, depicting: Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and Camille Pelletan (seated); Pierre Elzéar, Emile Blémont, and Jean Aicard (standing), 1872.

#french painting #musée d'orsay #realisme #poète maudit

[marie-chatelaine]

Pétale : Nom masculin .

Chacune des pièces dont est composée la corolle d'une fleur.🌸

Si l’amour, fait de joie ou de douleur,

Dit son secret, c’est dans toute la fleur

Plutôt qu’en l’un ou l’autre des pétales :

Car tout, l’oubli comme le souvenir,

La langueur tendre et les hauteurs fatales,

Au coeur aimé tout cela peut tenir.

- Léon Valade -

[classicaliberalism]

Poète Maudits - "The Accursed Poets"

“By the Table”

Henri Fantin-Latour, 1872

Oil on Canvas

Musée d'Orsay

Poets: Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly, Camille Pelletan, Elzéar Bonnier-Ortolan, Émile Blémont, Jean Aicard

#art #fine art #classical art #henri fantin-latour #french #french art #french poet #french poetry #poet #poets #poetry #classicism #classical aesthetic #despair #accursed #fate #tortured artist #19th century #19th century literature #literature #19th century poetry #existentialism #musee d'orsay #oil painting #existential #sorrow #artist #art history #dark aesthetic #homme

[docdm]

By the Table

Henri Fantin-Latour, 1872

Musée d’Orsay, Paris

Paris, Francia

By the Table is a group portrait as much as a testimony to the literary history of the 19th century, and the Parnassus poetry group in particular. A group of men are gathered around the far end of a table after a meal. Three are standing, from left to right: Elzéar Bonnier, Emile Blémont and Jean Aicard. Five are seated: Paul Verlaine and Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and Camille Pelletan. They are all dressed in black except one, Camille Pelletan, who is not a poet like the others but a politician. The central place is occupied by Emile Blémont, who bought the painting and gave it to the Louvre in 1910.

At least two figures are missing: Charles Baudelaire, to whom the painting was initially to have been a tribute, who died in 1867 and Albert Mérat who did not want to be painted in the company of the diabolic poets Verlaine and Rimbaud and was reputedly replaced by a bunch of flowers.

The painting was criticised for being too big: "Who advised Mr Fantin-Latour to give his table such epic, monumental proportions? There is a contradiction between the painting's ambitious dimensions and its subject matter that ends up being irritating."

#henri fantin-latour #gentleman #paintings

[loumargi]

Henri Fantin-Latour, By the Table, 1872, depicting Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and Camille Pelletan (seated); Pierre Elzéar, Emile Blémont and Jean Aicard (standing).

[jeanne-art]

Henri Fantin-Latour (Français, 1836-1904), Un coin de table, 1872 Huile sur toile, 160 × 225 cm Musée d'Orsay, Paris, France "Ce portrait représente les poètes présents aux dîners des Vilains Bonshommes qu’Edmond Maître avait présentés à Fantin. - Assis, de gauche à droite : Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly, Camille Pelletan. - Debout, de gauche à droite : Pierre Elzéar, Émile Blémont, Jean Aicard. - Un vase rempli de fleurs, au premier plan, qui serait un symbole du poète absent, Albert Mérat." Texte : wikipedia.org

[lasaraconor]

Un coin de table - Henri Fantin-Latour

Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly, Camille Pelletant.

Elzéar Bonnier-Ortolan, Émile Blémont, Jean Aicard.

#henri fantin-latour

[deepartnature]

Symbolism

Victor Vasnetsov, The Knight at the Crossroads, 1878

“Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through metaphorical images and language mainly as a reaction against naturalism and realism. In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s. In the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The term ‘symbolist’ was first applied by the critic Jean Moréas, who invented the term to distinguish the Symbolists from the related Decadents of literature and of art. Distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism....”

Wikipedia

Henri Fantin-Latour, By the Table, 1872, depicting: Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and Camille Pelletan (seated); Pierre Elzéar, Emile Blémont, and Jean Aicard (standing)

[popentertainment-moviereviews]

VALERIAN AND THE CITY OF A THOUSAND PLANETS (2017)

Starring Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, Rutger Hauer, Peter Hudson, Xavier Giannoli, Louis Leterrier, Eric Rochant, Benoit Jacquot, Sasha Luss, Aymeline Valade, Elizabeth Debicki, Olivier Megaton and the voices of Robbie Rist and John Goodman.

Screenplay by Luc Besson.

Directed by Luc Besson.

Distributed by STX. 137 minutes. Rated PG-13.

Writer/director Luc Besson obviously has an active imagination and a smart artistic eye. He has been responsible for some fine films over the years: Léon: The Professional, La Femme Nikita, The Fifth Element, even the first Taken movie. So, I’m not sure why at this point in his career, he pretty much insists on being the French Michael Bay.

On the plus side, many of the special effects in Valerian and the City of a Thousand Planets are mostly rather impressive and mind-boggling. On the minus side, the movie looks and feels grimy, the dialogue is awful, the action is not exciting, the actors are lifeless, the characters are annoying, the leads have no romantic or physical spark, and the story is absolutely fucking ridiculous.

Oh yeah, and the plot basically revolves around a cute alien lizard creature that poops magical energy pearls. Yeah, you read that right.

Back in the ‘80s, small exploitation houses like Cannon Films and Vestron used to make cheap space adventures to play third in a drive-in triple-feature or to loiter unnoticed in the sci-fi sections of video stores – cheesy crap along the lines of Battle Beyond the Stars, Galaxina, Saturn 3, Megaforce and the like. Valerian probably belongs in this sorry company, though honestly it may not even be good enough to pass muster even with these pathetic losers. If nothing else, none of these older films took themselves seriously.

And those films were made on a shoestring budget, while Besson wasted $225 million dollars to make this visually interesting, but storyline-bankrupt space opera.

Valerian and the City of a Thousand Planets seems to think it is an important film, a potential blockbuster, possibly even the beginning of a long-running series. (Please, God, no!)

What it really is, and I cannot stress this enough, is a completely muddled and ridiculous waste of over two hours of your life; an orgy of mindless violence, sparkless romance, crass political commentary and pseudo-philosophy. Watching a blank screen for that long would be more intellectually and emotionally stimulating.

Valerian and the City of a Thousand Planets is apparently based on a French comic book series I’ve never heard of called Valérian and Laureline. I can’t really speak on how good or bad the series is, though since it is a long-running cult favorite I must assume that it’s better than its cinematic cousin.

A big part of the problem is, quite simply, the two leads are awful. Dane DeHaan, who is a competent actor, seems to be channeling Bruce Willis in one of the later, bad Die Hard sequels. He never quite comes off as an action figure, and he has zero romantic or sexual chemistry with his winsome co-star. He sets off more sparks with a giant blue tub of goo alien shapeshifter (voiced and periodically played by pop star Rihanna) than he ever has with his stunningly beautiful hard-ass co-pilot, who he keeps asking to marry him.

About that co-star… Cara Delevingne is gorgeous, but did not connect with a single emotion. I know it’s easy pickings to point out that the supermodel can’t really act, but her monotone line readings and lack of facial expressions quickly got distracting. I’ll even give her the benefit of the doubt that it was not totally her fault. She’s a model, not an actress. A smarter (or at least more conscientious or actor-friendly) director could have probably coaxed a better performance out of her. Besides, forced to recite the lines she was given, even Meryl Streep would have come out looking ridiculous.

The most entertaining part of Valerian was Rihanna on a stripper pole. Let’s face it, you don’t have to sit through this movie to find footage of Rihanna on a stripper pole. Another oddball cameo (in fact, it was in the same section) was Ethan Hawke’s affected (and borderline offensive) performance as an effeminate, lisping, face-pierced space pimp. And how the hell did they talk respected jazz-fusion musician Herbie Hancock into doing a cameo role in which his character was only shown on video communication monitors?

If Valerian isn’t the worst movie this year, it’s going to be pretty damned close. It’s certainly the dregs of what I have seen so far. Expect to see this movie on a whole slew of year-end “Worst of 2017” lists.

Jay S. Jacobs

Copyright ©2017 PopEntertainment.com. All rights reserved. Posted: July 21, 2017.

#Valerian and the City of a Thousand Planets #Valerian #2017 #Movie Reviews #Dane DeHaan #Luc Besson #Jay S. Jacobs

[natalyalu]

Henri Fantin-Latour - By the Table [1872] by Gandalf's Gallery Via Flickr: By the Table is a group portrait as much as a testimony to the literary history of the 19th century, and the Parnassus poetry group in particular. A group of men are gathered around the far end of a table after a meal. Three are standing, from left to right: Elzéar Bonnier, Emile Blémont and Jean Aicard. Five are seated: Paul Verlaine and Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and Camille Pelletan. They are all dressed in black except one, Camille Pelletan, who is not a poet like the others but a politician. The central place is occupied by Emile Blémont, who bought the painting and gave it to the Louvre in 1910. At least two figures are missing: Charles Baudelaire, to whom the painting was initially to have been a tribute, who died in 1867 and Albert Mérat who did not want to be painted in the company of the diabolic poets Verlaine and Rimbaud and was reputedly replaced by a bunch of flowers. The painting was criticised for being too big: "Who advised Mr Fantin-Latour to give his canvas such epic, monumental proportions? There is a contradiction between the painting's ambitious dimensions and its subject matter that ends up being irritating.” [Musée d’Orsay, Paris - Oil on canvas, 160 x 225 cm]

#Art #Paintings #Henri Fantin-Latour

[ochoislas]

MI CARTUJA

Mi claro y sano asilo abre ojos despejados sobre confín soberbio, aun en Paris notable: ¡vecindario magnífico, sabio, gris y fangoso!... Arriba, el cielo; abajo, sima de doce brazas.

Insulsa vanagloria de esponjadas cúpulas, tejas y luego tejas, campos subestimados; a mano golondrinas con sus breves chirridos zampuzando veloces en insondable azul.

Salvo por mi vecino —clarín ocioso— el gallo, de odio y de rencor purgáranse mis días, sin más rondara el tiempo su círculo inmutable.

De noche oigo los perros ladrándole a la luna, que pasando los vidrios con risueña mirada viene a rascar mi frente donde pican los versos.

*

MA CHARTREUSE

Mon logis sain et clair ouvre son oeil limpide Sur un des horizons les plus fins de Paris : Admirable quartier, boueux, savant et gris!... En haut, le ciel; en bas, soixante pieds de vide.

De gros dômes bouffis d'un orgueil insipide, Des toits et puis des toits, là des champs incompris; Sous la main, l'hirondelle avec de petits cris Dans l'azur infini plongeant son vol rapide.

Sans mon voisin le coq, inutile clairon, Je vivrais des jours purs de haine et de rancune, Laissant décrire au temps son immuable rond.

Le soir, j'entends les chiens aboyer à la lune, Qui rit à mes carreaux, et, passant au travers, Vient me gratter le front à la bosse des vers.

Léon Valade

di-versión©ochoislas

#Léon Valade #literatura francesa #poesía parnasiana #retiro #ciudad #poesía #di-versiones©ochoislas

[taparolepourlamienne]

Il est de fins ressorts dont la marche ignorée - Ni savants, ni rêveurs, n'ont deviné comment - Va dans un coin de l'âme éveiller brusquement Le parfum d'une fleur autrefois respirée.

Autrefois, le céleste épanouissement De ta bouche qui rit, cette rose pourprée, M'avait tout embaumé l'âme... Chère adorée Qui t'envolas si tôt, l'oubli vint lentement !

Voilà que, ravivant ton image effacée, Ta grâce tout à coup me vient à la pensée, Comme l'air qu'un hasard souffle aux musiciens.

D'un soir déjà lointain je reconnais les fièvres Et mon coeur a senti refluer à mes lèvres Une fraîche saveur de baisers anciens.

Ressouvenance, Léon Valade

[semelocciditbrevislux]

Rimbaud eyes

Léon Valade “Big hands, big feet, a wholly babyish face like a child of thirteen, deep blue eyes! Such is this boy whose character is more anti-social than timid and whose imagination combines great powers with unheard-of corruption and who has fascinated and terrified all ours friends”

Ernest Delahaye” His only beauty was in the eyes, a pale blue trough which a dark blue blazed!-The most beautiful eyes I’ve seen – with an expression of bravura ready to cut through everything when he was serious and, when he laughed, of a child exquisite sweetness - and his eyes were almost always astonishingly deep and tender”

Edmund White “The gimlet-eyed seriousness of a precocious adolescent who has already lived hard, who has defied society, who has staked everything on his genius but isn’t sure of winning, and who is already bitter – all these twists and turns of bruised thought and offended feeling are captured perfectly in these pages”

(source - E.White - Rimbaud  The Double Life of a Rebel)

#edmund white #arthur rimbaud #léon valade #ernest delahaye #eyes #friends

[marthajefferson]

Corner of a table, details ; Henri Fantin-Latour 1872 (Paul verlaine, Arthur Rimbaud, Léon Valade)

#painting #arthur rimbaud #paul verlaine #léon valade #rimbaud #verlaine #art #details

[ochoislas]

ÚLTIMO DOMINGO DE SOL

¡Último domingo de sol! Última escapada en volandas hasta Chatou, Sèvres o Rueil... ¡Último almuerzo bajo la parra!

Postreras bonanzas azules, que nada más parten se extrañan... ¡En marcha! todavía hay un claro, aunque breve, antes de las lluvias...

«¡Cantemos, riamos, desbarremos!», parecen decir las parejas que asaltan con ágiles corvas las encumbradas jardineras.

De la mano van, descolgados, como si a las matas en fuga del camino fueran lanzando las regalías de su júbilo.

¡Ay, si no fuera inconveniente besarse delante de todos! Más, a punto, el túnel bosteza, brindando su noche a los besos:

¡tan breves!... la claridad brusca trunca su descabal dulzura, y justo vende a la señora componiendo sus perendengues.

*

DERNIER DIMANCHE DE SOLEIL

Dernier dimanche de soleil! Dernière-fugue à tire d'ailes Vers Chatou, Sèvres ou Rueil... Derniers repas sous les tonnelles!...

Douceurs dernières du ciel bleu Qu'on regrette, sitôt enfuies... — Allons, en route! Encore un peu De bon temps, vite, avant les pluies...

« Rions, chantons, extravaguons! » Semblent dire les jeunes couples, Perchés sur le haut des wagons Pris d'assaut par leurs jarrets souples.

Enlacés, la main dans la main, Ils semblent, penchés sur la voie, Aux buissons fuyants du chemin Faire des largesses de joie.

Ah! s'il n'était pas malséant De s'embrasser devant le monde! Mais, à point, le tunnel béant Prête aux baisers sa nuit profonde :

Si brefs!... Le grand jour brusquement Coupe leur douceur incomplète, Et trahit madame, au moment Qu'elle rajuste sa toilette.

Léon Valade

di-versión©ochoislas

#Léon Valade #literatura francesa #poesía parnasiana #fin del verano #joie de vivre #di-versiones©ochoislas