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FactBench
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https://dbpedia.org/page/Yves_Bonnefoy
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About: Yves Bonnefoy
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Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″
|
DBpedia
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http://dbpedia.org/resource/Yves_Bonnefoy
|
dbo:abstract
Yves Bonnefoy (Tours, 24 de juny de 1923 - París, 1 de juliol de 2016) fou un poeta, crític i traductor francès. Va estudiar filosofia i matemàtiques i posteriorment, se l'ha reconegut com un bon traductor de William Shakespeare i de William Butler Yeats, autors amb qui es va especialitzar. De la seva vida es destaca també la tasca docent que va desenvolupar al Collège de France des de 1981 a 1993. Yves Bonnefoy també ha escrit nombrosos assaigs sobre art i altres temes i la seva mirada sobre els artistes plàstics del segle xx és d'una gran intensitat i interès. Era doctor honoris causa per les universitats d'Oxford, Chicago i Siena. (ca)
Yves Bonnefoy (24. června 1923 v Tours – 1. července 2016) byl francouzský básník a esejista, jeden z nejvýznamnějších francouzských poválečných tvůrců. (cs)
إيف بونفوا (بالفرنسية: Yves Bonnefoy) (24 يونيو 1923 - 1 يوليو 2016)، شاعر وناقد أدبي ومترجم أدبي فرنسي، من رواد شعراء فرنسا في القرن العشرين. له أثر هام على الأدب الفرنسي بعد الحرب العالمية الثانية. له عدد من الدراسات في الفنون وتاريخ الفن، وعدد من الترجمات الأدبية، منها ترجمات لأعمال شكسبير. (ar)
O Ιβ Μπονφουά (Γαλλικά: Yves Bonnefoy, 24 Ιουνίου 1923 - 1η Ιουλίου 2016) ήταν Γάλλος ποιητής, κριτικός τέχνης και μεταφραστής. Θεωρείται ως μεγάλος ποιητής της περιόδου από τα τέλη του 20ού έως τις αρχές του 21ου αιώνα. (el)
Yves Bonnefoy (Tours, Indre y Loira, 24 de junio de 1923-París, 1 de julio de 2016) fue un poeta, crítico literario, ensayista, traductor y prosista francés, que destacó como traductor de Shakespeare y por sus ensayos fundamentales sobre arte y artistas del Barroco y del siglo XX, incluyendo a Goya, Joan Miró y Alberto Giacometti. (es)
Yves Bonnefoy (* 24. Juni 1923 in Tours; † 1. Juli 2016 in Paris) war ein französischer Lyriker, Autor, Übersetzer und Hochschullehrer. (de)
Yves Bonnefoy (Tours, 1923ko ekainaren 24a - Paris, 2016ko uztailaren 1a) frantziar poeta izan zen. Egia zen bere obraren kezka nagusia: Du movement et de l´inmobilité de Douve (1953, Douveren mugimenduaz eta mugimendu ezaz), Pierre écrite (1965, Harri idatzia), Dans le leurre du seuil (1975, Hastapenaren amarrua) eta Entretiens sur la poésie (1990, Solasaldiak poesiaren inguruan). (eu)
Yves Bonnefoy, né le 24 juin 1923 à Tours et mort le 1er juillet 2016 à Paris 15e, est un poète, critique d'art et traducteur français. Il est considéré comme un poète majeur de la seconde moitié du XXe et du début du XXIe siècle. (fr)
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″ (en)
이브 본푸아(1923년 6월 24일 ∼ 2016년 7월 1일)는 프랑스의 작가이다. 에드몽 자베스와 더불어 프랑스 안에서 "비할 바 없는 시인"으로 평가받기도 한다. (ko)
Yves Bonnefoy (Tours, 24 juni 1923 – Parijs, 1 juli 2016) was een Frans schrijver van poëzie en essays. (nl)
イヴ・ボヌフォワ（Yves Bonnefoy、1923年6月24日 - 2016年7月1日）は、フランスの詩人、文芸評論家、翻訳家である。 (ja)
Yves Bonnefoy (Tours, 24 giugno 1923 – Parigi, 1º luglio 2016) è stato un poeta, traduttore e critico d'arte francese. (it)
Yves Bonnefoy (ur. 24 czerwca 1923 w Tours, zm. 1 lipca 2016 w Paryżu) – francuski poeta, eseista i tłumacz. (pl)
Yves Bonnefoy (Tours, Indre-et-Loire, 24 de junho de 1923 - Paris, 1 de julho de 2016) foi um poeta francês, autor de inúmeros livros de poemas, além de ensaios sobre arte e literatura. Foi também tradutor de peças - como A Tempestade, Hamlet e Macbeth, dentre outras, de William Shakespeare - e poemas de William Butler Yeats, John Donne e Giacomo Leopardi. Sua obra teórica, de grande abrangência, buscou desde cedo interrogar, em livros como L'Improbable (1958), as tensões entre o mundo e a representação poética. Ela busca a sua filiação no existencialismo de Jean Wahl, de quem foi aluno, mas também numa leitura original que propõe de poetas como Charles Baudelaire e Arthur Rimbaud. Inicialmente ligado ao surrealismo, desliga-se do movimento em 1947, criticando a gratuidade do imaginário surrealista. Além do surrealismo, suas principais influências são Charles Baudelaire, Arthur Rimbaud, Stéphane Mallarmé et Gérard de Nerval, que realizaram, segundo ele, a verdadeira revolução poética da nossa modernidade.. Yves Bonnefoy foi também professor do Collège de France na cátedra de Estudos comparados da função poética. Em 1995 recebeu o Prêmio Balzan. Yves Bonnefoy morreu em 1º de julho de 2016, aos 93 anos. (pt)
Yves Bonnefoy, född 24 juni 1923 i Tours, död 1 juli 2016 i Paris, var en fransk författare och översättare. Bonnefoys verk har varit ett av de centrala i efterkrigstidens franska lyrik. Präglade av klassisk modernism, på samma gång poetisk och teoretisk, utforskande betydelsen av det sagda och skrivna ordet. Han har också givit ut ett antal översättningar varav översättningen av Shakespeare främst bör framhållas. Han har också givit ut ett flertal verk om konst och konsthistoria, bland annat om Miró och Giacometti. Han studerade matematik och filosofi i Poitiers och på Sorbonne. Efter andra världskriget reste han runt i Europa och USA och studerade konsthistoria. Mellan åren 1945 till 1947 hade han en kortvarig förbindelse med de surrealistiska målarna och diktarna i Paris. 1967 grundade han tillsammans med , och L'éphemère, en tidskrift om konst och litteratur. Han har undervisat i litteratur vid ett flertal universitet i Europa och USA. Från 1981 lärare i poetik vid Collège de France. (sv)
伊夫·博纳富瓦（法語：Yves Bonnefoy；1923年6月4日－2016年7月1日），法国诗人、散文家，生于图尔，父亲是铁道工人。他的作品在战后法国文学中占有重要地位，探索了口头及书面语言的意涵。他还创作了一系列翻译作品，最著名的是对莎士比亚的翻译，同时也写了一些关于美术及美术史的著作，包括对胡安·米罗和阿尔伯托·贾科梅蒂的研究。出版的诗集有《论杜弗的动与静》（1953）、《昨天的空寂的王国》（1958）、《写字石》（1965）、《门槛的诱惑》（1975）、《在影子的光芒中》（1987）、《雪的开始与结束》（1991）和《流浪的生命》（1993）等。 (zh)
Ив Бонфуа́ (фр. Yves Bonnefoy, 24 июня 1923, Тур — 1 июля 2016, Париж) — французский поэт, прозаик, эссеист и переводчик, историк искусства. (ru)
Ів Бонфуа (фр. Yves Bonnefoy, 24 червня 1923, Тур — 1 липня 2016, Париж) — французький поет, прозаїк, есеїст, перекладач. (uk)
rdfs:comment
Yves Bonnefoy (24. června 1923 v Tours – 1. července 2016) byl francouzský básník a esejista, jeden z nejvýznamnějších francouzských poválečných tvůrců. (cs)
إيف بونفوا (بالفرنسية: Yves Bonnefoy) (24 يونيو 1923 - 1 يوليو 2016)، شاعر وناقد أدبي ومترجم أدبي فرنسي، من رواد شعراء فرنسا في القرن العشرين. له أثر هام على الأدب الفرنسي بعد الحرب العالمية الثانية. له عدد من الدراسات في الفنون وتاريخ الفن، وعدد من الترجمات الأدبية، منها ترجمات لأعمال شكسبير. (ar)
O Ιβ Μπονφουά (Γαλλικά: Yves Bonnefoy, 24 Ιουνίου 1923 - 1η Ιουλίου 2016) ήταν Γάλλος ποιητής, κριτικός τέχνης και μεταφραστής. Θεωρείται ως μεγάλος ποιητής της περιόδου από τα τέλη του 20ού έως τις αρχές του 21ου αιώνα. (el)
Yves Bonnefoy (Tours, Indre y Loira, 24 de junio de 1923-París, 1 de julio de 2016) fue un poeta, crítico literario, ensayista, traductor y prosista francés, que destacó como traductor de Shakespeare y por sus ensayos fundamentales sobre arte y artistas del Barroco y del siglo XX, incluyendo a Goya, Joan Miró y Alberto Giacometti. (es)
Yves Bonnefoy (* 24. Juni 1923 in Tours; † 1. Juli 2016 in Paris) war ein französischer Lyriker, Autor, Übersetzer und Hochschullehrer. (de)
Yves Bonnefoy (Tours, 1923ko ekainaren 24a - Paris, 2016ko uztailaren 1a) frantziar poeta izan zen. Egia zen bere obraren kezka nagusia: Du movement et de l´inmobilité de Douve (1953, Douveren mugimenduaz eta mugimendu ezaz), Pierre écrite (1965, Harri idatzia), Dans le leurre du seuil (1975, Hastapenaren amarrua) eta Entretiens sur la poésie (1990, Solasaldiak poesiaren inguruan). (eu)
Yves Bonnefoy, né le 24 juin 1923 à Tours et mort le 1er juillet 2016 à Paris 15e, est un poète, critique d'art et traducteur français. Il est considéré comme un poète majeur de la seconde moitié du XXe et du début du XXIe siècle. (fr)
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″ (en)
이브 본푸아(1923년 6월 24일 ∼ 2016년 7월 1일)는 프랑스의 작가이다. 에드몽 자베스와 더불어 프랑스 안에서 "비할 바 없는 시인"으로 평가받기도 한다. (ko)
Yves Bonnefoy (Tours, 24 juni 1923 – Parijs, 1 juli 2016) was een Frans schrijver van poëzie en essays. (nl)
イヴ・ボヌフォワ（Yves Bonnefoy、1923年6月24日 - 2016年7月1日）は、フランスの詩人、文芸評論家、翻訳家である。 (ja)
Yves Bonnefoy (Tours, 24 giugno 1923 – Parigi, 1º luglio 2016) è stato un poeta, traduttore e critico d'arte francese. (it)
Yves Bonnefoy (ur. 24 czerwca 1923 w Tours, zm. 1 lipca 2016 w Paryżu) – francuski poeta, eseista i tłumacz. (pl)
伊夫·博纳富瓦（法語：Yves Bonnefoy；1923年6月4日－2016年7月1日），法国诗人、散文家，生于图尔，父亲是铁道工人。他的作品在战后法国文学中占有重要地位，探索了口头及书面语言的意涵。他还创作了一系列翻译作品，最著名的是对莎士比亚的翻译，同时也写了一些关于美术及美术史的著作，包括对胡安·米罗和阿尔伯托·贾科梅蒂的研究。出版的诗集有《论杜弗的动与静》（1953）、《昨天的空寂的王国》（1958）、《写字石》（1965）、《门槛的诱惑》（1975）、《在影子的光芒中》（1987）、《雪的开始与结束》（1991）和《流浪的生命》（1993）等。 (zh)
Ив Бонфуа́ (фр. Yves Bonnefoy, 24 июня 1923, Тур — 1 июля 2016, Париж) — французский поэт, прозаик, эссеист и переводчик, историк искусства. (ru)
Ів Бонфуа (фр. Yves Bonnefoy, 24 червня 1923, Тур — 1 липня 2016, Париж) — французький поет, прозаїк, есеїст, перекладач. (uk)
Yves Bonnefoy (Tours, 24 de juny de 1923 - París, 1 de juliol de 2016) fou un poeta, crític i traductor francès. Va estudiar filosofia i matemàtiques i posteriorment, se l'ha reconegut com un bon traductor de William Shakespeare i de William Butler Yeats, autors amb qui es va especialitzar. De la seva vida es destaca també la tasca docent que va desenvolupar al Collège de France des de 1981 a 1993. Yves Bonnefoy també ha escrit nombrosos assaigs sobre art i altres temes i la seva mirada sobre els artistes plàstics del segle xx és d'una gran intensitat i interès. (ca)
Yves Bonnefoy (Tours, Indre-et-Loire, 24 de junho de 1923 - Paris, 1 de julho de 2016) foi um poeta francês, autor de inúmeros livros de poemas, além de ensaios sobre arte e literatura. Foi também tradutor de peças - como A Tempestade, Hamlet e Macbeth, dentre outras, de William Shakespeare - e poemas de William Butler Yeats, John Donne e Giacomo Leopardi. Inicialmente ligado ao surrealismo, desliga-se do movimento em 1947, criticando a gratuidade do imaginário surrealista. Yves Bonnefoy morreu em 1º de julho de 2016, aos 93 anos. (pt)
Yves Bonnefoy, född 24 juni 1923 i Tours, död 1 juli 2016 i Paris, var en fransk författare och översättare. Bonnefoys verk har varit ett av de centrala i efterkrigstidens franska lyrik. Präglade av klassisk modernism, på samma gång poetisk och teoretisk, utforskande betydelsen av det sagda och skrivna ordet. Han har också givit ut ett antal översättningar varav översättningen av Shakespeare främst bör framhållas. Han har också givit ut ett flertal verk om konst och konsthistoria, bland annat om Miró och Giacometti. (sv)
|
||||
wrong_mix_domainrange_publicationDate_00088
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FactBench
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3
| 47 |
https://www.abebooks.com/book-search/author/william-prochnau-jean-bonnefoy
|
en
|
William Prochnau Jean Bonnefoy
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[
"William Prochnau",
"Jean Bonnefoy"
] |
1984-07-23T00:00:00
|
Les minutes de l'heure H by William Prochnau et Jean Bonnefoy and a great selection of related books, art and collectibles available now at AbeBooks.com.
|
en
|
https://www.abebooks.com/book-search/author/william-prochnau-jean-bonnefoy/
|
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||||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
0
| 12 |
https://libmast.utm.my/Record/oxford-uuid:e23e1330-b2f9-4eaa-a811-f93177d99040
|
en
|
Holdings: Noli me tangere: Bonnefoy, Nancy, Derrida :: UTM Library Massive Scholar Tracking
|
https://libmast.utm.my/themes/root/images/vufind-favicon.ico?_=1709541029
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https://libmast.utm.my/themes/root/images/vufind-favicon.ico?_=1709541029
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en
|
/themes/root/images/vufind-favicon.ico?_=1709541029
| null |
Noli me tangere: Bonnefoy, Nancy, Derrida
This paper examines the motif of touch and resistance to touch in Yves Bonnefoy’s collection of snow poems, Début et fin de la neige, 1992. The resistance encountered by the hand that seeks to touch, as evoked within Bonnefoy’s poem ‘Noli me tangere’, is suggestive of the problems and obstacles inhe...
Full description
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||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
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2
| 66 |
https://www.linkedin.com/posts/mahmoud-yaish-b20336260_dr-jean-yuves-bonnefoy-chairman-of-syndivia-activity-7192823208679555072-rpG5
|
en
|
LinkedIn
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https://static.licdn.com/scds/common/u/images/logos/favicons/v1/favicon.ico
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500 million+ members | Manage your professional identity. Build and engage with your professional network. Access knowledge, insights and opportunities.
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https://static.licdn.com/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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wrong_mix_domainrange_publicationDate_00088
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FactBench
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0
| 3 |
https://www.ebay.com/itm/145398644962
|
en
|
Christ and the Cosmos (1st THUS) by Jean-François Bonnefoy
|
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<p> Christ and the Cosmos<br>by Jean-François Bonnefoy<br><br>First edition THUS. Shelf and handling wear to cover and binding, with general signs of previous use. Boards betray fading and nicks and other signs of wear and imperfection commensurate with age. Binding is tight and structurally sound. Pages absent any extraneous marks. Sealed in plastic for shipping. Secure packaging for safe delivery. </p>
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Yves Bonnefoy (born 24 June 1923) is a French poet and essayist. His works have been of great importance in post-war French literature, at the same time poetic and theoretical, examining the meaning of the spoken and written word. He has also published a number of translations, most notably...
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Penny's poetry pages Wiki
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https://pennyspoetry.fandom.com/wiki/Yves_Bonnefoy
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Yves Bonnefoy (born 24 June 1923) is a French poet and essayist. His works have been of great importance in post-war French literature, at the same time poetic and theoretical, examining the meaning of the spoken and written word. He has also published a number of translations, most notably Shakespeare, and published several works on art and artists, including Joan Miró and Alberto Giacometti.
Life[]
Bonnefoy was born in Tours, Indre-et-Loire, the son of a railroad worker and a teacher. He studied mathematics and philosophy at the University of Poitiers and the Sorbonne university in Paris. After the World War II he travelled in Europe and the United States and studied art history. From 1945 to 1947 he was associated with the Surrealists in Paris (a short-lived influence that is at its strongest in his first published work, Traité du pianiste (1946)). But it was with the highly personal Du mouvement et de l'immobilité de Douve (1953) that Bonnefoy found his voice and that his name first came to public notice.
Bonnefoy's work has been translated into English by, among others, Emily Grosholz, Galway Kinnell, John Naughton, Alan Baker, Hoyt Rogers, Antony Rudolf and Richard Stamelmann. In 1967 he joined with André du Bouchet, Gaëtan Picon, and Louis-René des Forêts to found L'éphemère, a journal of art and literature. Although it is his poetry that has made him a prominent figure in 20th century world literature, he has written a great number of essays on art in general and pictorial art in particular. In this regard, L'Arriere-Pays ('The Hinterland', or 'The Land Beyond', 1972) occupies a pivotal place in his work.
He has taught literature at a number of universities in Europe and in the USA (Brandeis University, Waltham, Massachusetts (1962–64), Centre Universitaire, Vincennes (1969–1970), Johns Hopkins University, Baltimore, Princeton University, New Jersey; Yale University, New Haven, Connecticut, University of Geneva, University of Nice (1973–1976), University of Provence, Aix (1979–1981) and Graduate School, City University of New York (from 1986)), where he was made an honorary member of the Academy of the Humanities and Sciences. In 1981, following the death of Roland Barthes, he was given the chair of comparative study of poetry at the Collège de France.
Writing[]
Bonnefoy's style is remarkable for the deceptive simplicity of its vocabulary. Starkness of expression is combined with a deeply-ingrained sensuality and a longing for an (unattainable) 'other place', which comes to define human experience.
Recognition[]
He has been awarded a number of prizes throughout his creative life, most notably the Prix des Critiques in 1971, the Balzan Prize (for Art History and Art Criticism in Europe), the Prix mondial Cino Del Duca in 1995 and Franz Kafka Prize in 2007. His name is regularly mentioned among the prime favourites for the Nobel Prize. In 2011, he received the Griffin Lifetime Recognition Award, presented by the trustees of the Griffin Poetry Prize.[1]
Publications[]
Poetry[]
Each year links to its corresponding "[year] in poetry" article:
1946: Traité du pianiste
1953: Du mouvement et de l'immobilité de Douve
1958: Hier régnant désert
1962: Anti-Platon
1965: Pierre écrite
1971: L'Arrière-pays
1975: Dans le leurre du seuil
1977: Rue Traversière
1978: Poèmes (1947–1975)
1980: Entretiens sur la poésie
1987: Ce qui fut sans lumière
1987: Récits en rêve
1991: Début et fin de neige, suivi de Là où retombe la flèche
1993: La Vie errante, suivi de Une autre époque de l'écriture
1997: L'Encore Aveugle
1999: La Pluie d'été
2001: Le Théâtre des enfants
2001: Le Cœur-espace
2001: Les Planches courbes
2008: La Longue Chaine de l'Ancre
Template:Portal
Essays[]
Peintures murales de la France gothique (1954)
Dessin, couleur, lumière (1995)
L'Improbable (1959)
Arthur Rimbaud (1961)
La Seconde Simplicité (1961)
Un rêve fait à Mantoue (1967)
Rome, 1630 : l'horizon du premier baroque (1970), prix des Critiques 1971
L'Ordalie (1975)
Le Nuage rouge (1977)
Trois remarques sur la couleur (1977)
L'Improbable, suivi de Un rêve fait à Mantoue (1980)
La Présence et l'image (leçon inaugurale au Collège de France) (1983)
La Vérité sur Parole (1988)
Sur un sculpteur et des peintres (1989)
Entretiens sur la poésie (1972–1990)
Aléchinsky, les Traversées (1992)
Remarques sur le dessin (1993)
Palézieux (1994), avec Florian Rodari
La Vérité de parole (1995)
Dessin, couleur et lumière (1999)
La Journée d'Alexandre Hollan (1995)
Théâtre et poésie : Shakespeare et Yeats (1998)
Lieux et destins de l'image (1999)
La Communauté des traducteurs (2000)
Baudelaire : la tentation de l’oubli (2000)
L'Enseignement et l'exemple de Leopardi (2001)
André Breton à l'avant de soi (2001)
Poésie et architecture (2001)
Sous l'horizon du langage (2002)
Remarques sur le regard (2002)
La Hantise du ptyx (2003)
Le Poète et « le flot mouvant des multitudes » (2003)
Le Nom du roi d'Asiné (2003)
L'Arbre au-delà des images, Alexandre Holan (2003)
Goya, Baudelaire et la poésie, entretiens avec Jean Starobinski (2004)
Feuilée, avec Gérard Titus-Carmel (2004)
Le Sommeil de personne (2004)
Assentiments et partages, exposition du Musée des Beaux-Arts de Tours (2004)
Shakespeare & the French Poet (University of Chicago Press, Chicago, 2004)
L'Imaginaire métaphysique (2006)
Goya, les peintures noires, Ed. William Blake And Co, (2006)
Ce qui alarma Paul Celan, Galilée, (2007)
La Poésie à voix haute, La Ligne d'ombre (2007) ISBN 978-2-9528603-0-7
Pensées d'étoffe ou d'argile, Coll. Carnets, L'Herne, (2010)
Genève, 1993, Coll. Carnets, L'Herne, (2010)
Monograph[]
Biographie d'une œuvre (Alberto Giacometti)
Cahier Bonnefoy, dir. Odile Bombarde, Jean-Paul Avice, L'Herne (2010)
See also[]
Poets of other languages
References[]
[]
Template:Sister
Poems
"The Almond Tree". The New Yorker 60 (49): 36. 21 January 1985. Translated by Richard Pevear.
Audio / video
Griffin Lifetime Recognition Award 2011 tribute (including video)
About
Yves Bonnefoy profile at Books and Writers
French Poetry since 1950: Tendencies I, by Jean-Michel Maulpoix, translated by Catherine Wieder
This page uses Creative Commons Licensed content from Wikipedia. (view article). (view authors).
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Yves BonnefoyBORN: 1923, Tours, FranceNATIONALITY: FrenchGENRE: Poetry, translation, literary criticismMAJOR WORKS:Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)Hier regnant desert (In Yesterday's Desert Realm, 1958)Anti-Platon (Against Plato, 1962)Pierre écrite (Words in Stone, 1965)Dans le leurre du seuil (Lure of the Threshold, 1975) Source for information on Bonnefoy, Yves: Gale Contextual Encyclopedia of World Literature dictionary.
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/bonnefoy-yves
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Yves Bonnefoy
BORN: 1923, Tours, France
NATIONALITY: French
GENRE: Poetry, translation, literary criticism
MAJOR WORKS:
Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)
Hier regnant desert (In Yesterday's Desert Realm, 1958)
Anti-Platon (Against Plato, 1962)
Pierre écrite (Words in Stone, 1965)
Dans le leurre du seuil (Lure of the Threshold, 1975)
Overview
Poet, translator, and respected critic of both literature and art, Yves Bonnefoy is widely acknowledged as the most
significant and influential figure in contemporary French poetry. Critics note in Bonnefoy's work affinities with both the metaphysical poets of the seventeenth century and the surrealists of the twentieth century. He is admired for his investigation of spiritual and philosophical matters and his preference for exploring the subconscious rather than material reality and conscious perceptions.
Works in Biographical and Historical Context
Landscape and Loss Yves Bonnefoy was born in Tours, France, on June 24, 1923, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury Bonnefoy, a teacher. Bonnefoy spent his childhood summers at his grandfather's house in Toirac, near the Lot River. This summer landscape, he is quoted as saying in the preface to New and Selected Poems: Yves Bonnefoy (1995), “formed me in my deepest choices, with its vast, deserted plateaus and gray stone,” providing images and themes that his poetry has probed ever more deeply over the years. His early life was also profoundly influenced by the loss of his father, who died when Bonnefoy was thirteen. Bonnefoy reacted to this loss by immersing himself in his studies. A more lasting and more poetically resonant impact of his father's loss may be found in the sense of desolation that pervades his early work, relieved, however, by moments of clarity and illumination redolent of his idyllic childhood summers.
Literary Success In 1944 Bonnefoy arrived in Paris—which was occupied by Nazi German troops at time—to study mathematics and philosophy at the Sorbonne. He began to write poetry under the influence of such surrealists as André Breton and Victor Brauner. His study of the German philosopher George Friedrich Wilhelm Hegel is also evident throughout his work. Hegel's theory operates both thematically and structurally in Bonnefoy's poetry, allying his work with surrealism.
With the encouragement of Jean Wahl, Bonnefoy put aside his philosophy thesis and worked for three years at the National Center for Scientific Research, studying English literary creativity, reading literary theorists, and writing his own poetry. His first major collection, On the Motion and Immobility of Douve (1968), was published in 1953 to immediate acclaim and established his reputation. The collection of short poems centers around a mysterious female, Douve. She variously represents earth, woman, love, and poetry. The progress of the poem portrays changing moods and metaphysical transformations and sets up dialectics such as mind/spirit, hope/despair, and life/death.
The publication of In the Shadow's Light, and Early Poems, 1947–1959 reinforced Bonnefoy's reputation as a great postwar poet, one dedicated to crafting verses that embrace and envelop human feelings and emotions. In 1966 Bonnefoy cofounded a journal of art and literature, L'Ephéme, with Gaëtan Picon, André du Bouchet, and others; he coedited the review until it ceased publication in 1972. Since the 1970s, Bonnefoy has taught literature at several universities. He wrote many philosophical essays on the nature of writing and continued to published poetry, including the lauded 1975 collection Dans le leurre du seuil (Lure of the Threshold).
In the 1980s and 1990s, Bonnefoy turned his attention to translating the poetry of such writers as John Donne, John Keats, and William Butler Yeats. At present, Bonnefoy continues to write essays and translate Shakespeare's plays into French.
Works in Literary Context
The Unity of Things Much of Bonnefoy's poetry is preoccupied with loss and death, and the transience of all earthly things is emphasized as a paradoxical compensation for the loss of hope for immortality. Some critics view his work as a quest for what Bonnefoy himself terms “le vrai lieu” (the true place), a location in time or space, or a state of mind wherein the fundamental unity of all things is perceived. Bonnefoy's insistence on the importance of accepting the presence of death in everyday life has prompted many commentators to regard him as the first existentialist poet. Jean Starobinski commented: “The work of Bonnefoy offers us today one of the most committed and deeply pondered examples of [the] modern vocation of poetry. His writings as poet and essayist, in which the personal accent is so clear, and in which the I of subjective assertion is manifested with force and simplicity, have for [their] object a relation to the world, not
an internal reflection on the self. This oeuvre is one of the least narcissistic there is.”
Works in Critical Context
Bonnefoy's first three volumes of verse, On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone, are often considered a poetic cycle. Each volume is composed of short, interrelated poems that expand or resolve themes present in the others.
On the Motion and Immobility of Douve Critics have variously interpreted Douve as the speaker's beloved, a mythological symbol for all women, a river or moat, a forest, the poetic principle, and as the poem itself. Against a surreal and stark landscape in which wind, stone, and fire are discernible elements, Douve repeatedly dies, decomposes, and comes back to life. Michael Bishop remarked: “Death, despite its ‘frightful,’ ‘silly’ orchestrations is felt, throughout these intense poems, to be doubly positive. It is the one phenomenon that, for Bonnefoy, flings us back towards our existence, our leaking yet potentially full being-in-the-world.”
In Yesterday's Desert Realm and Words in Stone In the collection In Yesterday's Desert Realm, Bonnefoy explores the significance of death and its presence in daily life. Although Bonnefoy employed a more optimistic tone and less-violent imagery in this collection, the poems are generally considered more difficult and have garnered the least critical attention of the three volumes in the cycle. In an essay, Marc Hofstadter presented the idea that In Yesterday's Desert Realm is a continuation of the journey begun in On the Motion and Immobility of Douve and the journey is completed in Words in Stone. Hofstadter wrote: “Beginning in despair of the validity of the search or of the self's ability to pursue it … In Yesterday's Desert Realm takes the poet and us through a journey that ends, after all, in an opening up towards presence. Words in Stone emphasizes presence in the here-and-now and maintains the optimism which concluded In Yesterday's Desert Realm by praising the present moment as not only all there is but all that the speaker desires.”
LITERARY AND HISTORICAL CONTEMPORARIES
Bonnefoy's famous contemporaries include:
Simone de Beauvoir (1908–1986): French author and theorist, most recognized for her metaphysical novels, she laid significant groundwork for contemporary feminist thought in her 1949 analysis of women's oppression, The Second Sex.
James Dewey Watson (1928–): A molecular biologist and codiscoverer of the structure of DNA.
Alfred Hitchcock (1899–1980): Movie director known for his thriller and suspense films.
Madeleine Albright (1937–): The first female United States Secretary of State.
Anne Frank (1929–1945): A young Dutch writer who penned her famous Diary of a Young Girl while she hid from the Nazis in Amsterdam.
Jean-Paul Sartre (1905–1980): Author, philosopher, and critic, this Frenchman is renowned for his philosophical principles of existentialism.
COMMON HUMAN EXPERIENCE
Foremost to Bonnefoy's themes is the presence of death in everyday life, leading some to label him “the first existentialist poet.” Other works that explore humankind's preoccupation with death and the possibility of immortality include:
Fear and Trembling (1843), a book by Søren Kierkegaard. In his interpretation of the biblical story of the sacrifice of Isaac, Binding of Isaac, Kierkegaard explores the conflicts between theology and philosophy, ethics and morality.
Notes from the Underground (1864), a novel by Fyodor Dostoyevsky. Widely considered to be the first existentialist novel, this work influenced numerous writers, including Jean-Paul Sartre, Friedrich Nietzsche, Leo Tolstoy, Anton Chekhov, Joseph Heller, and Ralph Ellison.
Thus Spoke Zarathustra (1883–1985), a philosophical treatise by Friedrich Nietzsche. Among the many themes explored in Nietzsche's best-known work is that of eternal recurrence, the concept that everything that has occurred in history will repeat itself an infinite number of times.
Nausea (1938), a novel by Jean-Paul Sartre. Famous as one of the most important existentialist texts, this novel explores thirty-year-old protagonist Antoine Roquentin's struggle with existential angst, unreality, and the hostility of the human condition.
Responses to Literature
As you read Lure of the Threshold, note the imagery Bonnefoy chooses. In a short analysis, note images that are particularly striking and explain how these images relate to the themes Bonnefoy explores.
Using Lure of the Threshold as an example, discuss the role of the past in Bonnefoy's verse.
Bonnefoy is often considered the first surrealist poet. Others have argued that he is the first existentialist poet. Use several of Bonnefoy's poems to provide examples of these labels.
Using specific examples from his first three volumes of poetry—On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone—describe Bonnefoy's views on death.
BIBLIOGRAPHY
Books
Caws, Mary Anne. Yves Bonnefoy. Boston: Twayne, 1984.
Entretiens sur la poésie: Yves Bonnefoy. Neuchâtel, Switzerland: A La Baconnière; Paris and Lausanne, Switzerland: Payot, 1981. Enlarged as Entretiens sur la poésie: 1972–1990: Yves Bonnefoy. Paris: Mercure de France, 1990.
Gavronsky, Serge. Poems and Texts. New York: October House, 1969.
Hamburger, Michael. The Truth of Poetry. New York: Harcourt, 1970.
Lussy, Florence de, comp. Yves Bonnefoy. Introduction by Emmanuel Le Roy Ladurie. Preface by Jean Starobinski. Paris: Bibliothèque Nationale/Mercure de France, 1992.
Naughton, John T. The Poetics of Yves Bonnefoy. Chicago: University of Chicago Press, 1984.
Stamelman, Richard. Lost Beyond Telling: Representations of Death and Absence in Modern French Poetry. Ithaca, N.Y.: Cornell University Press, 1990.
Thelot, Jerome. Poétique d'Yves Bonnefoy. Geneva, Switzerland: Droz, 1983.
Periodicals
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Bonnefoy, Jean Baptiste
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Analyse Raisonnee Des Rapports Des Commissaires Charges Par Le Roi de l\ Examen Du Magnetisme Animal by Bonnefoy, Jean Baptiste and a great selection of related books, art and collectibles available now at AbeBooks.com.
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https://www.abebooks.com/book-search/author/bonnefoy-jean-baptiste/
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LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 59.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1785 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 62 Language: French.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 89.
Leatherbound. Condition: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1784 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 110 Language: French Pages: 110.
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Yves Bonnefoy facts for kids
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Learn Yves Bonnefoy facts for kids
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https://kids.kiddle.co/Yves_Bonnefoy
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"Bonnefoy" redirects here. For the place, see Bonnefoy, California.
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″
Life and career
Bonnefoy was born in Tours, Indre-et-Loire, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury, a teacher. He studied mathematics and philosophy at the Universities of Poitiers and the Sorbonne in Paris. After the Second World War he travelled in Europe and the United States and studied art history. From 1945 to 1947 he was associated with the Surrealists in Paris (a short-lived influence that is at its strongest in his first published work, Traité du pianiste (1946)). But it was with the highly personal Du mouvement et de l'immobilité de Douve [fr] (On the Motion and Immobility of Douve, 1953) that Bonnefoy found his voice and that his name first came to public notice. Bonnefoy's style is remarkable for the deceptive simplicity of its vocabulary.
Bonnefoy's work has been translated into English by, among others, Emily Grosholz, Galway Kinnell, John Naughton, Alan Baker, Hoyt Rogers, Antony Rudolf, Beverley Bie Brahic and Richard Stamelmann. In 1967 he joined with André du Bouchet, Gaëtan Picon, and Louis-René des Forêts to found L'éphémère, a journal of art and literature.
He taught literature at a number of universities in Europe and in the USA: Brandeis University, Waltham, Massachusetts (1962–64); Centre Universitaire, Vincennes (1969–1970); Johns Hopkins University, Baltimore; Princeton University, New Jersey; University of Connecticut, Storrs, Connecticut;Yale University, New Haven, Connecticut; University of Geneva; University of Nice (1973–1976); University of Provence, Aix (1979–1981); and Graduate Center, City University of New York, where he was made an honorary member of the Academy of the Humanities and Sciences. In 1981, following the death of Roland Barthes, he was given the chair of comparative study of poetry at the Collège de France.
Bonnefoy continued to work closely with painters throughout his career and wrote prefaces for artists’ books, including those by his friend Miklos Bokor.
Bonnefoy died on 1 July 2016 at the age of 93 in Paris. President François Hollande stated of Bonnefoy on his death that he would be remembered for "elevating our language to its supreme degree of precision and beauty".
Awards and honours
Bonnefoy was honoured with a number of prizes throughout his creative life. Early on he was awarded the Prix des Critiques in 1971. Ten years later, in 1981, The French Academy gave him its grand prize, which was soon followed by the Goncourt Prize for Poetry in 1987. Over the next 15 years, Bonnefoy was awarded both the Prix mondial Cino Del Duca and the Balzan Prize (for Art History and Art Criticism in Europe) in 1995, the Golden Wreath of Struga Poetry Evenings in 1999, and the Grand Prize of the First Masaoka Shiki International Haiku Awards in 2000. Toward the final years of his life, Bonnefoy was recognized with the Franz Kafka Prize in 2007 and, in 2011, he received the Griffin Lifetime Recognition Award, presented by the trustees of the Griffin Poetry Prize. In 2014, he was co-winner of the Janus Pannonius International Poetry Prize. He won the 2015 International Nonino Prize in Italy.
Selected works in English translation
1968: On the Motion and Immobility of Douve. Translated by Galway Kinnell. (Ohio University Press: ASIN: B000ILHLXA) – poetry
1985: Poems: 1959-1975. Translated by Richard Pevear. (Random House: ISBN: 9780394533520) – poetry
1991: In the Shadow's Light. Translated by John Naughton. (University of Chicago Press: 9780226064482) – poetry
1991: Mythologies [2 Volumes]. Compiled by Yves Bonnefoy. Edited by Wendy Doniger. (University of Chicago Press, ISBN: 9780226064536)
1993: Alberto Giacometti: A Biography of His Work. (Flammarion: ISBN: 978-2080135124) – art criticism
1995: The Lure and the Truth of Painting: Selected Essays on Art. (University of Chicago Press, ISBN: 9780226064444) – art criticism
2004: Shakespeare and the French Poet. – essays on the role of the translator. (University of Chicago Press: ISBN: 9780226064437)
2007: The Curved Planks. Translated by Hoyt Rogers. (Farrar, Straus and Giroux: ISBN: 9780374530754). – poetry
2011: Second Simplicity: New Poetry and Prose, 1991-2011. Selected, translated, and with an introduction by Hoyt Rogers. (Yale University Press: ISBN: 978-0-300-17625-4). – poetry
2012: Beginning and End of the Snow [followed by Where the Arrow Falls]. Translated by Emily Grosholz. (Bucknell University Press: ISBN: 978-1611484588) – poetry
2013: The Present Hour; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN: 9780857421630) – poetry
2014: The Digamma; with an introduction by Hoyt Rogers. Translated by Hoyt Rogers. (Seagull Books: ISBN: 978 0 8574 2 183 8). – poetry
2015: The Anchor's Long Chain; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN: 978-0857423023) – includes both poems and short stories
2017: Together Still [followed by Perambulans in Noctem]; with an afterword by Hoyt Rogers. Translated by Hoyt Rogers with Mathilde Bonnefoy. (Seagull Books: ISBN: 978 0 8574 2 424 2). – poetry
See also
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https://bringfrancehome.com/gb/brand/21-maison-bonnefoy
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Maison Bonnefoy
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Maison Bonnefoy
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https://bringfrancehome.com/img/favicon.ico?1616154106
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https://bringfrancehome.com/gb/brand/21-maison-bonnefoy
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In 1940, Jean-Marie Bonnefoy, father of Marc Bonnefoy,the current director of Maison Bonnefoy , becomes an artisan in a small town of Haute-Loire, Les Villettes, located next to Saint Etienne.
At the time, its activity was focused on the manufacture of garter belts and sheaths before to redirect his activities in the knitted fabric. In 1972, Marc Bonnefoy took over the management, after graduating from the Diderot textile school in Lyon.
Chloe, the granddaughter of Jean-Marie Bonnefoy, brings a fresh look to continue this great adventure with ever more original accessories.
Maison Bonnefoy's unique know-how lies in the use of ancient looms and modern machines combined with years of knitting practices. The entire manufacturing process, from creation to confection, including knitting, takes place in their Auvergnat workshop.
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Yves Bonnefoy
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Type: Person, Gender: Male, Born: 1923-06-24 in Tours, Died: 2016-07-01 in Paris, Area: France
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Yves Bonnefoy
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2005-05-18T22:55:56+00:00
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https://en.wikipedia.org/wiki/Yves_Bonnefoy
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French poet, essayist, and translator (1923–2016)
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian.[1] He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French.[2][1] He was a professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani.[2] The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″[3]
Life and career
[edit]
Bonnefoy was born in Tours, Indre-et-Loire, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury, a teacher.[4][5] He studied mathematics and philosophy at the Universities of Poitiers and the Sorbonne in Paris.[2] After the Second World War he travelled in Europe and the United States and studied art history.[4] From 1945 to 1947 he was associated with the Surrealists in Paris (a short-lived influence that is at its strongest in his first published work, Traité du pianiste (1946)). But it was with the highly personal Du mouvement et de l'immobilité de Douve [fr] (On the Motion and Immobility of Douve, 1953) that Bonnefoy found his voice and that his name first came to public notice.[6] Bonnefoy's style is remarkable for the deceptive simplicity of its vocabulary.[4][7]
Bonnefoy's work has been translated into English by, among others, Emily Grosholz, Galway Kinnell, John Naughton, Alan Baker, Hoyt Rogers, Antony Rudolf, Beverley Bie Brahic and Richard Stamelmann. In 1967 he joined with André du Bouchet, Gaëtan Picon, and Louis-René des Forêts to found L'éphémère, a journal of art and literature. Commenting on his work, Bonnefoy has said:
One should not call oneself a poet. It would be pretentious. It would mean that one has resolved the problems poetry presents. Poet is a word one can use when speaking of others, if one admires them sufficiently. If someone asks me what I do, I say I'm a critic, or a historian.[6][8]
He taught literature at a number of universities in Europe and in the USA: Brandeis University, Waltham, Massachusetts (1962–64); Centre Universitaire, Vincennes (1969–1970); Johns Hopkins University, Baltimore; Princeton University, New Jersey; University of Connecticut, Storrs, Connecticut;Yale University, New Haven, Connecticut; University of Geneva; University of Nice (1973–1976); University of Provence, Aix (1979–1981); and Graduate Center of the City University of New York, where he was made an honorary member of the Academy of the Humanities and Sciences.[9] In 1981, following the death of Roland Barthes, he was given the chair of comparative study of poetry at the Collège de France.[2]
Bonnefoy continued to work closely with painters throughout his career and wrote prefaces for artists’ books, including those by his friend Miklos Bokor.[10]
Bonnefoy died on 1 July 2016 at the age of 93 in Paris. President François Hollande stated of Bonnefoy on his death that he would be remembered for "elevating our language to its supreme degree of precision and beauty".[11]
Awards and honours
[edit]
Bonnefoy was honoured with a number of prizes throughout his creative life. Early on he was awarded the Prix des Critiques in 1971. Ten years later, in 1981, The French Academy gave him its grand prize, which was soon followed by the Goncourt Prize for Poetry in 1987.[2] Over the next 15 years, Bonnefoy was awarded both the Prix mondial Cino Del Duca and the Balzan Prize (for Art History and Art Criticism in Europe) in 1995, the Golden Wreath of Struga Poetry Evenings in 1999, and the Grand Prize of the First Masaoka Shiki International Haiku Awards in 2000. Toward the final years of his life, Bonnefoy was recognized with the Franz Kafka Prize in 2007 and, in 2011, he received the Griffin Lifetime Recognition Award, presented by the trustees of the Griffin Poetry Prize.[4] In 2014, he was co-winner of the Janus Pannonius International Poetry Prize.[12] He won the 2015 International Nonino Prize in Italy.
Selected works in English translation
[edit]
1968: On the Motion and Immobility of Douve. Translated by Galway Kinnell. (Ohio University Press: ASIN: B000ILHLXA) – poetry
1985: Poems: 1959-1975. Translated by Richard Pevear. (Random House: ISBN 9780394533520) – poetry
1991: In the Shadow's Light. Translated by John Naughton. (University of Chicago Press: 9780226064482) – poetry
1991: Mythologies [2 Volumes]. Compiled by Yves Bonnefoy. Edited by Wendy Doniger. (University of Chicago Press, ISBN 9780226064536) [n 1][13]
1993: Alberto Giacometti: A Biography of His Work. (Flammarion: ISBN 978-2080135124) – art criticism
1995: The Lure and the Truth of Painting: Selected Essays on Art. (University of Chicago Press, ISBN 9780226064444) – art criticism [3]
2004: Shakespeare and the French Poet. – essays on the role of the translator. (University of Chicago Press: ISBN 9780226064437)
2007: The Curved Planks. Translated by Hoyt Rogers. (Farrar, Straus and Giroux: ISBN 9780374530754). – poetry
2011: Second Simplicity: New Poetry and Prose, 1991-2011. Selected, translated, and with an introduction by Hoyt Rogers. (Yale University Press: ISBN 978-0-300-17625-4). – poetry
2012: Beginning and End of the Snow [followed by Where the Arrow Falls]. Translated by Emily Grosholz. (Bucknell University Press: ISBN 978-1611484588) – poetry
2013: The Present Hour; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN 9780857421630) – poetry[14]
2014: The Digamma; with an introduction by Hoyt Rogers. Translated by Hoyt Rogers. (Seagull Books: ISBN 978 0 8574 2 183 8). – poetry
2015: The Anchor's Long Chain; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN 978-0857423023) – includes both poems and short stories[3]
2017: Together Still [followed by Perambulans in Noctem]; with an afterword by Hoyt Rogers. Translated by Hoyt Rogers with Mathilde Bonnefoy. (Seagull Books: ISBN 978 0 8574 2 424 2). – poetry
Notes
[edit]
References
[edit]
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https://www.mullenbooks.com/pages/books/142075/yves-bonnefoy/la-revolution-la-nuit%3FsoldItem%3Dtrue
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La Revolution la Nuit
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Paris: Yves Bonnefoy, 1946. Softcover. 16-page bw paper pamphlet with cover image by Victor Brauner and interior bw illustration by Jacques Herold. Good. Interior clean and tight but with sunning to stapled spine edges and with ex-lib. stamp on top of front cover above illustration . Item #142075 Text in French. No. 2 of the publication, of which 500 were printed. With the introductory article, A Propos de Deux Enquetes,
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Mullen Books
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https://www.mullenbooks.com/pages/books/142075/yves-bonnefoy/la-revolution-la-nuit?soldItem=true
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Bonnefoy, Yves (ed.)
Paris: Yves Bonnefoy, 1946. Softcover. 16-page bw paper pamphlet with cover image by Victor Brauner and interior bw illustration by Jacques Herold. Good. Interior clean and tight but with sunning to stapled spine edges and with ex-lib. stamp on top of front cover (above illustration). Item #142075
Text in French. No. 2 of the publication, of which 500 were printed. With the introductory article, A Propos de Deux Enquetes, by Bonnefoy, and subsequent articles by Jean Brun, Christian Dotremont, Edouard Jaguer, Yves Battistini, Iarosaw Serpan, Jacques Charpier and quotes by others. This issue centers on Surrealism. A scarce issue.
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https://emeraldcitybookreview.com/2020/03/29/reading-all-around-the-world-update/
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Reading All Around the World update
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2020-03-29T00:00:00
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After a couple of years of very little activity, I finally got back into the Reading All Around the World project and I'm so glad I did. It reminds me of how powerful reading is as a way to learn and expand our horizons while staying in one place. Here's what I've read since the…
|
en
|
The Emerald City Book Review Archive
|
https://emeraldcitybookreview.com/2020/03/29/reading-all-around-the-world-update/
|
After a couple of years of very little activity, I finally got back into the Reading All Around the World project and I’m so glad I did. It reminds me of how powerful reading is as a way to learn and expand our horizons while staying in one place. Here’s what I’ve read since the last time I checked in.
(Two stars** after the author name indicates the author is a native of the country described. One star* indicates the author’s ethnic background is from that country. Other books have a strong and well-researched setting; usually the author has lived in the country for an extended period.)
Venezuela – Octavio’s Journey and Black Sugar by Miguel Bonnefoy** – February 2018
Egypt – The Butterfly Mosque by G. Willow Wilson – August 2018
Spain – Don Quixote by Miguel de Cervantes** – July 2019
Australia – My Brilliant Career by Miles Franklin** – October 2019
Saudi Arabia – Daring to Drive by Manal Al-Sharif** – December 2019
South Africa – Born a Crime by Trevor Noah** – December 2019
Ghana – All God’s Children Need Traveling Shoes by Maya Angelou* – January 2020
Chile – The House of the Spirits and My Invented Country by Isabel Allende** – January 2020
Korea/Japan – Pachinko by Min Jin Lee* – January 2020
Bhutan – Married to Bhutan by Linda Leaming – February 2020
Iceland – Burial Rites by Hannah Kent – February 2020
India – The Widows of Malabar Hill by Sunja Massey* – February 2020
Nigeria, Senegal, and West Africa – In Search of Disobedient Women by Dionne Searcey – March 2020
My favorites? I found Daring to Drive and Born a Crime both absolutely stunning in their portrayal of life in a repressive, unjust society, while also celebrating the human spirit that comes to light in these dark surroundings.
All God’s Children Need Traveling Shoes was interesting for its perspective: a Black American woman living in Africa, looking for a sense of coming home that proved elusive.
I enjoyed the novel The House of the Spirits but I think I liked Allende’s memoir My Invented Country even more — an exile’s love letter to her homeland.
Burial Rites was another stunner, one of those historical novels that makes you feel “this must be how it was.” I really felt transported back to 19th century Iceland (and I’m so glad I’m not stuck there permanently).
I’m excited to keep going with this journey. What books have you found to transport you to other parts of the world?
|
|||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
3
| 5 |
https://www.librarything.com/author/bonnefoyjean
|
en
|
Jean Bonnefoy
|
https://www.librarything.com/favicon_lt_32.ico
|
https://www.librarything.com/favicon_lt_32.ico
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Jean Bonnefoy, author of Surtout pas de Panique ! Le Guide du Guide galactique, on LibraryThing
|
en
|
/favicon_lt_32.ico
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LibraryThing.com
|
https://www.librarything.com/author/bonnefoyjean
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This site uses cookies to deliver our services, improve performance, for analytics, and (if not signed in) for advertising. By using LibraryThing you acknowledge that you have read and understand our Terms of Service and Privacy Policy. Your use of the site and services is subject to these policies and terms.
|
||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
2
| 10 |
https://press.uchicago.edu/ucp/books/book/chicago/P/bo3629958.html
|
en
|
The Poetics of Yves Bonnefoy
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2023-12-22T06:00:56
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The book The Poetics of Yves Bonnefoy, John Naughton is published by University of Chicago Press.
|
en
|
/favicon.ico
|
University of Chicago Press
|
https://press.uchicago.edu/ucp/books/book/chicago/P/bo3629958.html
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Be the first to know
Get the latest updates on new releases, special offers, and media highlights when you subscribe to our email lists!
|
||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
0
| 30 |
https://egusphere.copernicus.org/preprints/2024/egusphere-2024-1758/
|
en
|
driven models in simulating CO2 fluxes and their relationship with climate in western European temperate forests
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Abstract. This study evaluates two process-based (LPJ-GUESS and SMAP-L4C) and two data-driven (CarbonSpace and FLUXCOM) models to capture the temporal variability of CO2 flux exchanges (GPP, RECO and NEE) of evergreen needleleaf and deciduous broadleaf forests (ENFs and DBFs) in temperate western Europe and its relationship with climate. Three sites from the FLUXNET network are considered together with two non-instrumented sites located in Burgundy (North-East France). The focus is put on the representation of the annual cycle, annual budget, interannual variability and âlong-termâ trend. The data-driven models are the best models for representing the mean annual cycle and mean annual budget in CO2Â fluxes despite magnitude uncertainties. In particular, the models accounting for plant functional types in their outputs tend to simulate more marked annual cycle and lower annual CO2 sequestration for DBFs than ENFs in Burgundy. At the interannual timescale, the CO2 flux â climate relationshipis stronger for GPP and RECO than NEE, with increased CO2 fluxes when 2 m temperature, vapor pressure deficit and evapotranspiration increase and when precipitation and soil moisture decrease. The models forced by dynamic climate conditions clearly outperform those driven by static climate conditions. The âlong-termâ trend is not obvious for NEE neither in the observations nor in the simulations, partly because both GPP and RECO tend to increase in western Europe. Our results suggest that the spatial resolution of the climate drivers is likely very important for capturing spatial and temporal patterns in CO2 exchanges and point towards the need to choose the appropriate model and spatial resolution according to the scientific question to deal with.
|
en
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https://www.egusphere.net/favicon_copernicus_16x16_.ico
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https://egusphere.copernicus.org/preprints/2024/egusphere-2024-1758/
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Preprints
https://doi.org/10.5194/egusphere-2024-1758
© Author(s) 2024. This work is distributed under
the Creative Commons Attribution 4.0 License.
https://doi.org/10.5194/egusphere-2024-1758
© Author(s) 2024. This work is distributed under
the Creative Commons Attribution 4.0 License.
20 Jun 2024
| 20 Jun 2024
Status: this preprint is open for discussion.
Evaluating state-of-the-art process-based and data-driven models in simulating CO2 fluxes and their relationship with climate in western European temperate forests
Gaïa Michel, Julien Crétat, Olivier Mathieu, Mathieu Thévenot, Andrey Dara, Robert Granat, Zhendong Wu, Clément Bonnefoy-Claudet, Julianne Capelle, Jean Cacot, and John S. Kimball
Abstract. This study evaluates two process-based (LPJ-GUESS and SMAP-L4C) and two data-driven (CarbonSpace and FLUXCOM) models to capture the temporal variability of CO2 flux exchanges (GPP, RECO and NEE) of evergreen needleleaf and deciduous broadleaf forests (ENFs and DBFs) in temperate western Europe and its relationship with climate. Three sites from the FLUXNET network are considered together with two non-instrumented sites located in Burgundy (North-East France). The focus is put on the representation of the annual cycle, annual budget, interannual variability and “long-term” trend. The data-driven models are the best models for representing the mean annual cycle and mean annual budget in CO2 fluxes despite magnitude uncertainties. In particular, the models accounting for plant functional types in their outputs tend to simulate more marked annual cycle and lower annual CO2 sequestration for DBFs than ENFs in Burgundy. At the interannual timescale, the CO2 flux – climate relationshipis stronger for GPP and RECO than NEE, with increased CO2 fluxes when 2 m temperature, vapor pressure deficit and evapotranspiration increase and when precipitation and soil moisture decrease. The models forced by dynamic climate conditions clearly outperform those driven by static climate conditions. The “long-term” trend is not obvious for NEE neither in the observations nor in the simulations, partly because both GPP and RECO tend to increase in western Europe. Our results suggest that the spatial resolution of the climate drivers is likely very important for capturing spatial and temporal patterns in CO2 exchanges and point towards the need to choose the appropriate model and spatial resolution according to the scientific question to deal with.
Publisher's note: Copernicus Publications remains neutral with regard to jurisdictional claims made in the text, published maps, institutional affiliations, or any other geographical representation in this preprint. The responsibility to include appropriate place names lies with the authors.
Gaïa Michel, Julien Crétat, Olivier Mathieu, Mathieu Thévenot, Andrey Dara, Robert Granat, Zhendong Wu, Clément Bonnefoy-Claudet, Julianne Capelle, Jean Cacot, and John S. Kimball
Status: open (until 28 Aug 2024)
Comment types: AC â author | RC â referee | CC â community | EC â editor | CEC â chief editor | : Report abuse
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Gaïa Michel, Julien Crétat, Olivier Mathieu, Mathieu Thévenot, Andrey Dara, Robert Granat, Zhendong Wu, Clément Bonnefoy-Claudet, Julianne Capelle, Jean Cacot, and John S. Kimball
Gaïa Michel, Julien Crétat, Olivier Mathieu, Mathieu Thévenot, Andrey Dara, Robert Granat, Zhendong Wu, Clément Bonnefoy-Claudet, Julianne Capelle, Jean Cacot, and John S. Kimball
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1
1
Gaïa Michel
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
AgroParisTech, 91120, Palaiseau, France
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
Olivier Mathieu
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
Mathieu Thévenot
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
CarbonSpace Ltd., D04H1F3 Dublin, Ireland
Robert Granat
CarbonSpace Ltd., D04H1F3 Dublin, Ireland
Department of Physical Geography and Ecosystem Science, Lund University, Lund, Sweden
ICOS ERIC, Carbon Portal, Lund, Sweden
Clément Bonnefoy-Claudet
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
Julianne Capelle
Biogéosciences, UMR 6282 CNRS, Université de Bourgogne, Dijon, France
Jean Cacot
Centre National de la Propriété Forestière, Saulieu, France
|
|||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
0
| 26 |
https://openlibrary.org/subjects/person:jean_tardieu_(1903-)
|
en
|
Jean Tardieu (1903-)
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Open Library is an open, editable library catalog, building towards a web page for every book ever published. Read, borrow, and discover more than 3M books for free.
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https://openlibrary.org/subjects/person:jean_tardieu_(1903-)
| |||||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
2
| 68 |
https://ouci.dntb.gov.ua/en/works/4v5Mo3r7/
|
en
|
Yves Bonnefoy and Jean-Luc Nancy: Ontological Performance. By Emily McLaughlin
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Number of works in the list of references 0
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||||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
2
| 44 |
https://carcanetblog.blogspot.com/2013/07/anthony-rudolf-yves-bonnefoy-at-90.html
|
en
|
The Carcanet Blog: Anthony Rudolf: Yves Bonnefoy at 90
|
[] |
[] |
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[
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[] | null |
A blog about poetry, books, literature, reading and writing
|
https://carcanetblog.blogspot.com/favicon.ico
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https://carcanetblog.blogspot.com/2013/07/anthony-rudolf-yves-bonnefoy-at-90.html
| |||||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
2
| 52 |
https://matwin.fr/en/team-showcase/dr-jean-yves-bonnefoy/
|
en
|
Dr Jean-Yves BONNEFOY
|
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2017-11-25T13:46:22+01:00
|
en
|
Matwin | Maturation & accelerating translation with industry
|
https://matwin.fr/en/team-showcase/dr-jean-yves-bonnefoy/
|
Jean-Yves Bonnefoy is CEO of Anagenesis Biotechnologies since January 2014. He is also President of the Life Sciences Competitiveness Cluster, Alsace BioValley, Board member of biotech companies Anagenesis and SILABE and of the engineer school ESBS. He is a member of the scientific advisory board of iTeos Therapeutics and Centre de Recherche des Cordeliers. He is also member of the investment committee of the TTO, SATT Conectus. Before Anagenesis Biotechnologies he co-founded Transgene Spin-off, ElsaLys Biotech. He was for 8 years VP, R&D of Transgene SA. From 2002 to 2005, he launched and managed the Canceropole Lyon Rhône-Alpes. From 1992 to 2002, he headed the Centre d’immunologie Pierre Fabre. From 1998 to 2002, he was Director of the Immunology Department of the Glaxo-Wellcome Institute in Switzerland. From 1985 to 1987, he was scientist at the Research Centre of Schering-Plough in France. He is author and co-author of more than 200 publications and reviews (H-index 55-30-13). Jean-Yves holds a PhD in Immunology, a “Thèse 3ème cycle” in Biochemistry and followed the Senior Management Program of the London Business School, in the UK.
|
||||||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
1
| 50 |
https://bibliotheek.be/en/catalog/yves-bonnefoy/alberto-giacometti-biography-his-work/book/library-marc-vlacc_8538148
|
en
|
Alberto Giacometti : a biography of his work
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https://webservices.bibliotheek.be/index.php?func=cover&ISBN=9782080201041&VLACCnr=8538148&CDR=&EAN=&ISMN=&EBS=&coversize=medium
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By Yves Bonnefoy; More than 8 times in Flemish libraries
|
en
|
/themes/custom/library_portal_theme/favicon.ico
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https://bibliotheek.be/en/catalog/yves-bonnefoy/alberto-giacometti-biography-his-work/book/library-marc-vlacc_8538148
|
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was a professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″
Bonnefoy was born in Tours, Indre-et-Loire, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury, a teacher. He studied mathematics and philosophy at the Universities of Poitiers and the Sorbonne in Paris. After the Second World War he travelled in Europe and the United States and studied art history. From 1945 to 1947 he was associated with the Surrealists in…Read more on Wikipedia
|
|||
wrong_mix_domainrange_publicationDate_00088
|
FactBench
|
1
| 31 |
https://creativespark.art/threads/what-are-you-reading.98/page-3
|
en
|
What are you Reading?
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2021-02-26T07:23:31-08:00
|
Entangled Life, by Merlin Sheldrake. For the second time--it requires concentration.
Here's a post-pandemic article about it I came across by accident...
|
en
|
/data/files/favicon.png
|
Creative Spark
|
https://creativespark.art/threads/what-are-you-reading.98/page-3
|
I just read your link. ^
Pretty interesting and yes, the whole conversation required some focus and concentration from me, but still, I liked the gist of it. I like the idea of how these teeny things fuse and branch and mesh and interconnect and just...live on and among and within. Are they the truest of all survivors?
I don’t think I’d ever read the book though, because it might be too hard for me, but I can see it being a very “Musket kind of book.” Also, lately, I’ve been thinking a lot about the weblike network of stuff over our muscles. What’s it called? Had to google and oh yeah...I’m thinking of fascia! This was actually in back of mind as I was reading your link and it made me wonder if, and how, fascia is similar to fungi.
Yep, that’s what I wondered.
But the fascia over my brain is way too shrunken, knotted, and dried up these days to figure it out.
I suppose I’m a lesser human than fungi.
I have a few of those so we have some of the same tastes after all. Lolita is a favorite of mine. Do you like Henry Miller? I like Carroll's Through the Looking Glass as well. I don't know if I still own those...I have to look.
I've been reading poetry journals lately, looking for fresher stuff. It's hard to weed out the "good" from the bad and mediocre, but I've been enjoying it. I was recently selected to be published for a new anthology of fictional shorts about sex workers. I've been looking at their publications and their poets from the US and UK. They publish a lot of transgressive fiction and similar poetry.
I read a lot of unknown writers, or writers who I personally know from small presses. One of the last great works I read was The Late Season by Stephen Hines on Tangerine Press, which is out of the UK. Best collection of short stories I've read in a really long time.
I've been reading poetry journals lately, looking for fresher stuff. It's hard to weed out the "good" from the bad and mediocre, but I've been enjoying it.
I think 5 to 7 years ago I was far more "obsessed" with seeking out more contemporary writers... and composers for that matter. Among the contemporary writers I admired most I'd include:
Cormac McCarthy
Thomas Pynchon
Don DeLillo
Margaret Atwood
Milan Kundera
Peter Ackroyd
Mario Vargas Llosa
Günter Grass
José de Sousa Saramago
McCarthy is probably best known for the novels The Road and No Country For Old Men thanks to the films but his "Border Trilogy" (All the Pretty Horses, The Crossing, and Cities of the Plain) and Blood Meridian are his masterpieces IMO. Harold Bloom compared Blood Meridian to Shakespeare and Melville's Moby Dick and I quite concur. The Judge is one of the greatest villains in literature and the passages describing the American West often verge on the visionary... yet the novel is also one of the most harrowing.
Atwood's The Handmaid's Tale is almost essential reading against our current increasingly authoritarian politics.
Peter Ackroyd is incredibly prolific... and fluid in fiction and non-fiction. He's written marvelous works of biography and history on subjects including William Blake, Thomas More, Chaucer, Shakespeare, J.M.W. Turner, Albion and English arts, London, ancient Egypt. His novels are often based upon non-fiction and frequently blur the line between the two.
Günter Grass? Well, The Tin Drum is IMO one of the greatest novels of the later half of the 20th century... and one of the funniest. His observations on artists and art school are hilarious... and spot-on.
As I noted earlier, I tend to read far more poetry and short fiction than novels. Among the great contemporary poets I most admire I would include:
Yves Jean Bonnefoy
Anne Carson
Charles Simic
Richard Howard
Richard Wilbur
Adam Zagajewski
Wisława Szymborska
Izabella (Bella) Akhmadulina
Andrei Voznesensky
Seamus Heaney
Richard Howard is a Cleveland-born poet who I discovered as THE translator of Baudelaire's Fleurs d mal the collection of poetry which became my "Bible" as an art student. It still remains among my favorite books and I have Howard's translation here with me in this hotel room. I was fascinated by Howard's marvelous sensuous epistolary poems.
I also discovered Richard Wilbur first of all as a translator... of French poetry and drama (Molière, Corneille, Racine). Wilbur was a modern classicist... often employing historical poetic forms like the sonnet, ballad, etc... complete with the most fluid rhymes... yet dealing with contemporary themes. His poem, Piazza di Spagna, Early Morning which I posted here: Poem of the Day
...in the thread on favorite poems remains one of my favorites.
Anne Carson may be my favorite living poet. She's a masterful translator from the Greek and Latin. Her own poetic works employ quotes, false translations, drama, prose, and a wealth of poetic forms.
I currently have a few different books of different types going.
I'm reading The Way of Kings by Brandon Sanderson. It's a pretty thick fantasy novel that I'm crawling through. I've read some of his other stuff and enjoyed it a lot, but this series has a lot more depth to it.
I'm also reading Domain Driven Design, which is a software programming design patterns book describing the DDD methodology. It's not the most interesting programming book I've read, but the methodology is massively important to understand for this current step in my career. I've also been reading some other design pattern books, which have been more interesting.
Finally, I'm reading through A Guide To Drawing (7th Edition), which is one of the steps in my current strategy of tackling and relearning drawing fundamentals I haven't been exposed to since high school. I found it randomly in an old box when I was searching for some unrelated hobby materials, and don't actually recall how I came to own the thing. It's a very well paced book and I've been very happy with the drawing exercises the book has you work through. I'm hoping to continue working through each section to further grow my skills in drawing.
I read Atwoods Handmaid's Tale in my early 30s after studying cults and mind control psychology. It was a good read, but I actually found her writing style a little flat for my liking in all honesty. I wouldn't consider her a "fresh" new writer, but maybe that is not what you meant.
I read The Tin Drum in my teens and did not find it "funny," but the writing style was good. I found it disturbing at the time, but it could have been over my head when I was just 16 or so. I thought it was kinda heavy and dark, but my tastes have changed since then.
I had read a lot of T.S. Elliot and Tolstoy early on...oh and I have mentioned before Bastard Out of Carolina in the past by Dorothy Allison. That is a great novel based on a kind of memoir. I read that a long time ago too and thought she was a new voice at the time, but maybe she wasn't. Myla Goldberg I was reading from her first novels, well before they made Bee Season into a mediocre movie. I also am in love with Miranda July. Her first book of short stories is my favorite. I did find out about her from her first film though: You and Me and Everybody Else. Her style of writing is exactly up my alley, as well as John Fante. He's probably my favorite writer of all time.
Most of the poets I listed died within the last decade with the exceptions of Anne Carson, Charles Simic, and Richard Howard. Simic is 83 and Howard is 92. Anne Carson is the "youngest" of the bunch at 71. Two "giants" I forgot to include are Geoffrey Hill and John Ashberry... who both died within the past 6 years. Prior to their deaths, both were cited as possibly the best poets writing in English.
Making judgments as to the merits of contemporary writers is every bit as challenging as making such judgments about contemporary artists... probably more difficult considering that reading a book is more time-consuming than looking at a work of art.
I'll admit I haven't kept up as much with contemporary literature as I did in the past. Part of this may be due to the collapse of the literature forum that I followed for a good number of years where I was introduced to a good many writers. Part of it is also due to my delving more into non-English Language writers. I also suspect this owes something to my digging deeper into and spending more time with music.
Fante was most popular in the 1930s but made a "comeback" in the 80s right before he passed away, which was when I was introduced to him, thank goodness. I found out about him because of Charles Bukowski, who was a fan, and got his work republished with Black Sparrow Press (his longtime publisher). Luckily, his editor didn't butcher Fante's work as he did Bukowski's. Fante's work was made into a few bad films like Ask the Dust. I wasn't a fan of the movie because the novel is so damn good, which is usually the case of most books that become Hollywood movies.
Although, I read a book a long time ago called Push, written in a similar vernacular to Alice Walker's The Color Purple (also made into a pretty good movie). Push was made into a movie called Precious (I believe was the name), and it was very good. It was cleaned up quite a bit because the book was one of the most intense and graphic novels I may have ever read. The film was very optimistic, which was a nice take on something horrible that had a happy ending. The novel had that too, but not before she went to hell and back.
Music has a sore/bittersweet spot for me, which is maybe why I don't participate in those music threads so much. It was once my life. I have feelings that it was taken away from me, which are probably just distorted beliefs really. Not being able to play anymore due to illness, and going through a lot of undue stress/pressure cooker trauma being on the road, etc. It all led to a bad situation that took me out of the game that I was thriving in. Then, I just couldn't work. It pummeled me completely. I couldn't even listen to music for years after that. Seriously. Maybe because it means so much to me.
Now I listen to it sparingly, and when I do, I truly listen, and almost like a study. I was/am also a songwriter, so I can't help but to listen to composition and production, and all the little crazy details. I'm a huge Beatles fan (who isn't?), so I still listen to a lot of that. But while doing other things, I can't listen to anything except classical or my mind can't be in two places at once. My brain is too deep into the music, and I can't talk to other people, or read, or paint, etc. I'm greatly affected by it.
I'm super picky with classical. I'm into Mozart mostly (all of it, because he was THE genius in my opinion), but I also love Chopin, Mendelssohn, Tchaikovsky, and some Beethoven (depending); I'm not so into his symphonies as I am his string quartets.
Well, this was long! And not totally about books. Sorry.
The last thing I think I read was a Jenny Lawson book: Let's Pretend This Never Happened. Intense and very funny. She is an excellent writer and journalist.
|
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3
| 45 |
https://www.myhauteloire.fr/en/our-shared-secrets/textile-creation-from-generation-to-generation-at-the-maison-bonnefoy-in-les-villettes/
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en
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Textile creation from generation to generation at Maison Bonnefoy
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2023-06-27T12:52:54+00:00
|
Bonnefoy Créations in Les Villettes is a family story. A story that has been built since 1940 around textiles at the initiative of
|
en
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My Haute-Loire
|
https://www.myhauteloire.fr/en/our-shared-secrets/textile-creation-from-generation-to-generation-at-the-maison-bonnefoy-in-les-villettes/
|
Bonnefoy Créations in Les Villettes is a family story. A story that has been built since 1940 around textiles at the initiative of Jean-Marie Bonnefoy. At the time, the small company was focused on the manufacture of girdles and suspender belts. Then in the 70s, Marc Bonnefoy, his son, took over the family business and developed the creation of knitted accessories. A know-how that Chloé Bonnefoy still perpetuates today, the 3e generation of the family to take over the Altiliger company.
Scarves, stoles, hats, berets, gloves, mittens, ponchos... Since 1972, these autumn-winter accessories have always been the stars of the collections. Bonnefoy Creations, to which Chloé Bonnefoy has however given a new dynamism and a new breath since 2011 by joining her father at the head of the company. It thus gives rise to the Maison Bonnefoy brand in 2015, by offering a whole range of items created and manufactured in France, rich in unique and historical know-how.
The perfect blend of tradition and modernity at the service of quality
Historic, because Bonnefoy Creation it is 80 years of intense creation, 80 years of transmission an ancestral know-how in the mesh to each person who makes up the Bonnefoy company team. It is 80 years of trends and as many techniques, mastery and meticulousness, especially in the hand finishing that have earned the Bonnefoy company the Living Heritage Company (EPV) label, rewarding excellence in know-how.
80 , it is also the age of rachel trades , here since 1940 make it possible to knit exceptional products. Following a complex process of computer programming, Bonnefoy Création has also made room for digital technology in their manufacture, thanks to their straight looms. A perfect marriage between tradition and modernity, at the service of French quality.
A "French touch" which has been exported since 1997 all over the world, in all European countries, but also in Asia and America. In all, Bonnefoy Création exports its knits to around thirty countries around the world. Its fashion accessories, but not only… Because since 2021, the house has launched its very first collection home decor accessory.
A collection of knitted throws big or small stitch, in wool and/or mohair, rich in colours, which makes you want to cocoon in the hollow of the sofa.
Sensitive to environmental issues, Bonnefoy Créations has been trying for several years to limit its carbon footprint by supporting French and local manufacturers. Their recycled packaging, labels and pouches are thus produced by neighboring manufacturers. This ecological commitment has also given rise to an ethical range of products made from organic and recycled materials: Justin (recycled cashmere), Claude and Patrice (recycled materials).
|
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wrong_mix_domainrange_publicationDate_00088
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FactBench
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https://bringfrancehome.com/gb/brand/21-maison-bonnefoy
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en
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Maison Bonnefoy
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https://bringfrancehome.com/img/favicon.ico?1616154106
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https://bringfrancehome.com/img/favicon.ico?1616154106
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Maison Bonnefoy
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en
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https://bringfrancehome.com/img/favicon.ico?1616154106
|
https://bringfrancehome.com/gb/brand/21-maison-bonnefoy
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In 1940, Jean-Marie Bonnefoy, father of Marc Bonnefoy,the current director of Maison Bonnefoy , becomes an artisan in a small town of Haute-Loire, Les Villettes, located next to Saint Etienne.
At the time, its activity was focused on the manufacture of garter belts and sheaths before to redirect his activities in the knitted fabric. In 1972, Marc Bonnefoy took over the management, after graduating from the Diderot textile school in Lyon.
Chloe, the granddaughter of Jean-Marie Bonnefoy, brings a fresh look to continue this great adventure with ever more original accessories.
Maison Bonnefoy's unique know-how lies in the use of ancient looms and modern machines combined with years of knitting practices. The entire manufacturing process, from creation to confection, including knitting, takes place in their Auvergnat workshop.
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3
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/bonnefoy-yves
|
en
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Encyclopedia.com
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"Yves BonnefoyBORN: 1923",
"Tours",
"FranceNATIONALITY: FrenchGENRE: Poetry",
"translation",
"literary criticismMAJOR WORKS:Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve",
"1953)Hier regnant desert (In Yesterday's Desert Realm",
"1958)Anti-Platon (Against Plato",
"1962)Pierre écrite (Words in Stone",
"1965)Dans le leurre du seuil (Lure of the Threshold",
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] | null |
[] | null |
Yves BonnefoyBORN: 1923, Tours, FranceNATIONALITY: FrenchGENRE: Poetry, translation, literary criticismMAJOR WORKS:Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)Hier regnant desert (In Yesterday's Desert Realm, 1958)Anti-Platon (Against Plato, 1962)Pierre écrite (Words in Stone, 1965)Dans le leurre du seuil (Lure of the Threshold, 1975) Source for information on Bonnefoy, Yves: Gale Contextual Encyclopedia of World Literature dictionary.
|
en
|
/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/bonnefoy-yves
|
Yves Bonnefoy
BORN: 1923, Tours, France
NATIONALITY: French
GENRE: Poetry, translation, literary criticism
MAJOR WORKS:
Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)
Hier regnant desert (In Yesterday's Desert Realm, 1958)
Anti-Platon (Against Plato, 1962)
Pierre écrite (Words in Stone, 1965)
Dans le leurre du seuil (Lure of the Threshold, 1975)
Overview
Poet, translator, and respected critic of both literature and art, Yves Bonnefoy is widely acknowledged as the most
significant and influential figure in contemporary French poetry. Critics note in Bonnefoy's work affinities with both the metaphysical poets of the seventeenth century and the surrealists of the twentieth century. He is admired for his investigation of spiritual and philosophical matters and his preference for exploring the subconscious rather than material reality and conscious perceptions.
Works in Biographical and Historical Context
Landscape and Loss Yves Bonnefoy was born in Tours, France, on June 24, 1923, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury Bonnefoy, a teacher. Bonnefoy spent his childhood summers at his grandfather's house in Toirac, near the Lot River. This summer landscape, he is quoted as saying in the preface to New and Selected Poems: Yves Bonnefoy (1995), “formed me in my deepest choices, with its vast, deserted plateaus and gray stone,” providing images and themes that his poetry has probed ever more deeply over the years. His early life was also profoundly influenced by the loss of his father, who died when Bonnefoy was thirteen. Bonnefoy reacted to this loss by immersing himself in his studies. A more lasting and more poetically resonant impact of his father's loss may be found in the sense of desolation that pervades his early work, relieved, however, by moments of clarity and illumination redolent of his idyllic childhood summers.
Literary Success In 1944 Bonnefoy arrived in Paris—which was occupied by Nazi German troops at time—to study mathematics and philosophy at the Sorbonne. He began to write poetry under the influence of such surrealists as André Breton and Victor Brauner. His study of the German philosopher George Friedrich Wilhelm Hegel is also evident throughout his work. Hegel's theory operates both thematically and structurally in Bonnefoy's poetry, allying his work with surrealism.
With the encouragement of Jean Wahl, Bonnefoy put aside his philosophy thesis and worked for three years at the National Center for Scientific Research, studying English literary creativity, reading literary theorists, and writing his own poetry. His first major collection, On the Motion and Immobility of Douve (1968), was published in 1953 to immediate acclaim and established his reputation. The collection of short poems centers around a mysterious female, Douve. She variously represents earth, woman, love, and poetry. The progress of the poem portrays changing moods and metaphysical transformations and sets up dialectics such as mind/spirit, hope/despair, and life/death.
The publication of In the Shadow's Light, and Early Poems, 1947–1959 reinforced Bonnefoy's reputation as a great postwar poet, one dedicated to crafting verses that embrace and envelop human feelings and emotions. In 1966 Bonnefoy cofounded a journal of art and literature, L'Ephéme, with Gaëtan Picon, André du Bouchet, and others; he coedited the review until it ceased publication in 1972. Since the 1970s, Bonnefoy has taught literature at several universities. He wrote many philosophical essays on the nature of writing and continued to published poetry, including the lauded 1975 collection Dans le leurre du seuil (Lure of the Threshold).
In the 1980s and 1990s, Bonnefoy turned his attention to translating the poetry of such writers as John Donne, John Keats, and William Butler Yeats. At present, Bonnefoy continues to write essays and translate Shakespeare's plays into French.
Works in Literary Context
The Unity of Things Much of Bonnefoy's poetry is preoccupied with loss and death, and the transience of all earthly things is emphasized as a paradoxical compensation for the loss of hope for immortality. Some critics view his work as a quest for what Bonnefoy himself terms “le vrai lieu” (the true place), a location in time or space, or a state of mind wherein the fundamental unity of all things is perceived. Bonnefoy's insistence on the importance of accepting the presence of death in everyday life has prompted many commentators to regard him as the first existentialist poet. Jean Starobinski commented: “The work of Bonnefoy offers us today one of the most committed and deeply pondered examples of [the] modern vocation of poetry. His writings as poet and essayist, in which the personal accent is so clear, and in which the I of subjective assertion is manifested with force and simplicity, have for [their] object a relation to the world, not
an internal reflection on the self. This oeuvre is one of the least narcissistic there is.”
Works in Critical Context
Bonnefoy's first three volumes of verse, On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone, are often considered a poetic cycle. Each volume is composed of short, interrelated poems that expand or resolve themes present in the others.
On the Motion and Immobility of Douve Critics have variously interpreted Douve as the speaker's beloved, a mythological symbol for all women, a river or moat, a forest, the poetic principle, and as the poem itself. Against a surreal and stark landscape in which wind, stone, and fire are discernible elements, Douve repeatedly dies, decomposes, and comes back to life. Michael Bishop remarked: “Death, despite its ‘frightful,’ ‘silly’ orchestrations is felt, throughout these intense poems, to be doubly positive. It is the one phenomenon that, for Bonnefoy, flings us back towards our existence, our leaking yet potentially full being-in-the-world.”
In Yesterday's Desert Realm and Words in Stone In the collection In Yesterday's Desert Realm, Bonnefoy explores the significance of death and its presence in daily life. Although Bonnefoy employed a more optimistic tone and less-violent imagery in this collection, the poems are generally considered more difficult and have garnered the least critical attention of the three volumes in the cycle. In an essay, Marc Hofstadter presented the idea that In Yesterday's Desert Realm is a continuation of the journey begun in On the Motion and Immobility of Douve and the journey is completed in Words in Stone. Hofstadter wrote: “Beginning in despair of the validity of the search or of the self's ability to pursue it … In Yesterday's Desert Realm takes the poet and us through a journey that ends, after all, in an opening up towards presence. Words in Stone emphasizes presence in the here-and-now and maintains the optimism which concluded In Yesterday's Desert Realm by praising the present moment as not only all there is but all that the speaker desires.”
LITERARY AND HISTORICAL CONTEMPORARIES
Bonnefoy's famous contemporaries include:
Simone de Beauvoir (1908–1986): French author and theorist, most recognized for her metaphysical novels, she laid significant groundwork for contemporary feminist thought in her 1949 analysis of women's oppression, The Second Sex.
James Dewey Watson (1928–): A molecular biologist and codiscoverer of the structure of DNA.
Alfred Hitchcock (1899–1980): Movie director known for his thriller and suspense films.
Madeleine Albright (1937–): The first female United States Secretary of State.
Anne Frank (1929–1945): A young Dutch writer who penned her famous Diary of a Young Girl while she hid from the Nazis in Amsterdam.
Jean-Paul Sartre (1905–1980): Author, philosopher, and critic, this Frenchman is renowned for his philosophical principles of existentialism.
COMMON HUMAN EXPERIENCE
Foremost to Bonnefoy's themes is the presence of death in everyday life, leading some to label him “the first existentialist poet.” Other works that explore humankind's preoccupation with death and the possibility of immortality include:
Fear and Trembling (1843), a book by Søren Kierkegaard. In his interpretation of the biblical story of the sacrifice of Isaac, Binding of Isaac, Kierkegaard explores the conflicts between theology and philosophy, ethics and morality.
Notes from the Underground (1864), a novel by Fyodor Dostoyevsky. Widely considered to be the first existentialist novel, this work influenced numerous writers, including Jean-Paul Sartre, Friedrich Nietzsche, Leo Tolstoy, Anton Chekhov, Joseph Heller, and Ralph Ellison.
Thus Spoke Zarathustra (1883–1985), a philosophical treatise by Friedrich Nietzsche. Among the many themes explored in Nietzsche's best-known work is that of eternal recurrence, the concept that everything that has occurred in history will repeat itself an infinite number of times.
Nausea (1938), a novel by Jean-Paul Sartre. Famous as one of the most important existentialist texts, this novel explores thirty-year-old protagonist Antoine Roquentin's struggle with existential angst, unreality, and the hostility of the human condition.
Responses to Literature
As you read Lure of the Threshold, note the imagery Bonnefoy chooses. In a short analysis, note images that are particularly striking and explain how these images relate to the themes Bonnefoy explores.
Using Lure of the Threshold as an example, discuss the role of the past in Bonnefoy's verse.
Bonnefoy is often considered the first surrealist poet. Others have argued that he is the first existentialist poet. Use several of Bonnefoy's poems to provide examples of these labels.
Using specific examples from his first three volumes of poetry—On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone—describe Bonnefoy's views on death.
BIBLIOGRAPHY
Books
Caws, Mary Anne. Yves Bonnefoy. Boston: Twayne, 1984.
Entretiens sur la poésie: Yves Bonnefoy. Neuchâtel, Switzerland: A La Baconnière; Paris and Lausanne, Switzerland: Payot, 1981. Enlarged as Entretiens sur la poésie: 1972–1990: Yves Bonnefoy. Paris: Mercure de France, 1990.
Gavronsky, Serge. Poems and Texts. New York: October House, 1969.
Hamburger, Michael. The Truth of Poetry. New York: Harcourt, 1970.
Lussy, Florence de, comp. Yves Bonnefoy. Introduction by Emmanuel Le Roy Ladurie. Preface by Jean Starobinski. Paris: Bibliothèque Nationale/Mercure de France, 1992.
Naughton, John T. The Poetics of Yves Bonnefoy. Chicago: University of Chicago Press, 1984.
Stamelman, Richard. Lost Beyond Telling: Representations of Death and Absence in Modern French Poetry. Ithaca, N.Y.: Cornell University Press, 1990.
Thelot, Jerome. Poétique d'Yves Bonnefoy. Geneva, Switzerland: Droz, 1983.
Periodicals
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https://shop.longthreadmedia.com/products/knitting-traditions-spring-2015-digital-edition
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Knitting Traditions, Spring 2015 Digital Edition
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Knitting Traditions Spring 2015 features 21 knitting patterns influenced from history and stories from around the world.
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Long Thread Media
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https://shop.longthreadmedia.com/products/knitting-traditions-spring-2015-digital-edition
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Knitting Traditions Spring 2015
Digital Issue
Welcome to the Amazing Adventures edition of Knitting Traditions! It’s all about explorers and adventurers—some were attempting to reach the North or the South Pole, others to circumnavigate the globe. Not all of them were men.
In her article, “Knitwear for Polar Explorers,” Angharad Thomas examines the exploits of a number of famous explorers, including Robert Scott and Ernest Shackleton. She notes, “To study accounts of polar exploits is to become overwhelmed by the descriptions of the harshness of the physical conditions the expeditions encountered.” Two American women who experienced those conditions firsthand were Josephine Peary and Jackie Ronne. Josephine Peary first traveled with her husband, Robert Peary, to the Arctic in 1891. Author Kathy Augustine writes, “[Josephine] forged ahead on a path of unyielding support for her husband, whether by his side in the frozen north or from the warmth of her parlor where she entertained sponsors.” In 1947, Jackie Ronne became the first American woman to reach Antarctica, with knitting needles and yarn in tow. For twelve months, she and her husband, expedition leader Finn Ronne, lived in a 12-foot (3.7-m) square hut.
And then there is the simply incredible Jeanne Baret. Author Laura Ricketts sets the stage: “Jeanne Baret (1740–1807) was a woman of many names and multiple facets. In December 1766, in Rochefort, France, Jeanne Baret (sometimes spelled Baré) boarded the Étoile, a four-deck ship, along with 115 others. The ship was part of an expedition to circumnavigate the globe led by Captain Louis-Antoine de Bougainville (1729–1811). While on board, she was known as Jean Bonnefoy, valet and manservant to the expedition’s botanist, Philibert Commerson (1727–1773).” And she managed this for sixteen months. She also would discover “the flowering vine in Brazil that Commerson would name ‘bougainvillea’ after the captain of the expedition. . . .” This is just the tip of the iceberg (pun intended!). Many other compelling stories and twenty-one stand-out projects—socks, sweaters, mittens and gloves, hats and balaclava, a scarf, and a shawl—await you.
Download your copy of Knitting Traditions Spring 2015 today!
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https://www.telegraph.co.uk/obituaries/2016/07/18/yves-bonnefoy-french-poet-and-shakespeare-translator--obituary/
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Yves Bonnefoy, French poet and Shakespeare translator – obituary
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2016-07-18T00:00:00
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Yves Bonnefoy, who has died aged 93, was the most influential French poet since the Second World War.
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The Telegraph
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https://www.telegraph.co.uk/obituaries/2016/07/18/yves-bonnefoy-french-poet-and-shakespeare-translator--obituary/
|
Yves Bonnefoy, who has died aged 93, was the most influential French poet since the Second World War.
His more than 100 titles, to which he was adding regularly into his nineties, comprises poetry, prose, poetry, livres d’artiste, essays, works of art history and of translation, notably of Shakespeare, John Donne and WB Yeats. He lived long enough to oversee plans for the forthcoming Pléiade edition of his works.
Among the French poets of his generation, Bonnefoy was the most attached to the English-speaking world. He married Lucy Vines, an American artist, and in the 1960s held visiting professorships at American universities including Harvard. He studied the New Criticism promulgated by figures like René Wellek and IA Richards; and after he had undertaken his first translation, of Hamlet, in 1957, Shakespeare never ceased to feed his imagination.
At the time of his death he had translated 10 major plays (including all the tragedies), as well as the poems and sonnets. The Winter’s Tale, notably, provided him with a central narrative of rebirth at a dark time. His own poetry attracted a tribe of translators.
Initially trained in mathematics and abstract thought, Bonnefoy might have had a career as a philosopher, had he not encountered André Breton and Surrealism. More lastingly the memory of experiences in childhood continually wrested him away from conceptual thought and into an apprehension of what he called “undivided being”. This experience, that in his poetics he calls “Présence”, and his collateral war on Platonism with its higher “forms”, occupied him for seven decades with remarkable consistency. “The task of the poet is to show us a tree, before the intellect tells us that it is one,” he once wrote.
Yves Jean Bonnefoy was born on June 24 1923 in Tours. His father, originally from the Aveyron, was a blue-collar worker on the railways, and his mother was a primary school teacher. Holidays were spent in the village of Toirac in the Lot and in many writings, notably in l’Arrière-pays (1972) – a kind of “excited reverie”, part autobiography, part art-history, part metaphysical thriller – Bonnefoy dwelt on this divided experience, between the humdrum everyday of Tours and the thrilling immediacy of life in the Lot valley. The opening sentence – “I have often experienced a feeling of anxiety, at crossroads” – takes on a psychological charge as the book progresses, as the young poet wrestles with what he calls his tentation gnostique – the idea that, up the road not taken, a higher civilisation might exist – an anxiety partially resolved in the book by an acceptance of the finite and a new-found joy in the celebration of the mortal that he discovers in Poussin and the Roman baroque.
Bonnefoy went to Paris after the war, ostensibly to read Mathematics at the Sorbonne. But in fact he attended André Chastel’s classes on Renaissance art and read widely in philosophy. Inevitably, he encountered Surrealism, and was even summoned to take tea with André Breton. His later break with the movement occasioned some of his most revealing thought, but surrealism, in the sense that unconscious or irrational material is allowed to seep in and disturb, remained a central feature of his work, from his breakthrough collection of 1953, Du mouvement et de l’immobilité de Douve. The récit en rêve (dream-narrative), was a genre he made his own.
In 1981 he was appointed to the Chair of Comparative Poetics at the Collège de France.
His later work included more personal material, notably his last book, L’echarpe rouge, completed just weeks before his death, partly an act of penance to his father, who had died early, estranged from his bookish son.
Yves Bonnefoy is survived by his wife and daughter.
Yves Bonnefoy, born June 24 1923, died July 1 2016
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Jean Dubuffet
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[
"Jean Dubuffet",
"Jean Dubuffet artist",
"Jean Dubuffet Pace",
"Jean Dubuffet Pace Gallery",
"Pace Gallery",
"Contemporary Art",
"Contemporary Artist",
"Art Gallery"
] | null |
[] |
2024-03-15T00:00:00
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Jean Dubuffet looked to the margins of the everyday—the art of prisoners, psychics, the uneducated, and the institutionalized—to liberate his own creativity, coining the term “Art Brut” as a reflection of the creative possibilities outside the conventions of the day.
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en
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https://www.pacegallery.com/static/images/favicon.dc63b0105878.ico
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https://www.pacegallery.com/artists/jean-dubuffet/
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Dates
Born 1901, Le Havre, France
Died 1985, Paris, France
Education
1918, Académie Julien, Paris
2023
Jean Dubuffet. Rebonds: From One Work to Another, Fondation Dubuffet, Paris, September 26, 2023–February 16, 2024. (Exhibition booklet)
2022
Jean Dubuffet: Ardent Celebration, Guggenheim Museum Bilbao, February 25–August 21, 2022.
2020
Jean Dubuffet, Barbican Art Centre, London, September 30, 2020–January 17, 2021.
Jean Dubuffet, Pace Gallery, 540 West 25th Street, New York, September 17–October 24, 2020. (Booklet)
Jean Dubuffet, un barbare en Europe, Musée d'Ethnographie de Genève, Geneva, Switzerland, September 8, 2020–February 28, 2021.
Jean Dubuffet, Centre de la gravure et de l'image imprimée, La Louvière, Belgium, June 2, 2020–January 24, 2021.
2019
Ler dla Canpane, Fondation Dubuffet, Paris, October 21, 2019–July 17, 2020.
Jean Dubuffet and Venice, Palazzo Franchetti-Cavalli, Venice, May 10–October 20, 2019. (Catalogue)
Jean Dubuffet: Un Barbare en Europe, Mucem, Marseille, France, April 24–September 2, 2019. Traveled to: Institut Valencià d”Art Modern, Spain, October 8. 2019–February 2, 2020. (Catalogue)
Jean Dubuffet, Galerie Lelong & Co., Paris, March 14–May 11, 2019.
2018
Jean Dubuffet: L’arte in gioco. Matière e spirito 1943–1985. Fonazione Palazzo Magnani, Reggio Emilia, Italy, November 17, 2018–March 3, 2019.
Jean Dubuffet: Théâtres de mémoire, Pace Gallery, 510 West 25th Street, New York, May 18–June 29, 2018. (Catalogue)
Jean Dubuffet: A Festival of the Mind, Waddington Custot, London, May 18–June 27, 2018.
Dubuffet – Le Voyageur sans boussole, Pompidou Center, Málaga, July 12–October 14, 2018.
Jean Dubuffet and the City, Hauser & Wirth, Zürich, June 9–September 15, 2018. (Catalogue)
Jean Dubuffet: The Photographic Tool, Museé de l’Elysée, Lausanne, Switzerland, May 30–September 23, 2018.
2017
Jean Dubuffet, Zidoun & Bossuyt, Luxemburg, September 28–November 4, 2017. (Catalogue)
Jean Dubuffet: Théâtres de Mémoire, Pace London, 6 Burlington Gardens, September 13–October 21, 2017. (Catalogue)
Jean Dubuffet: Estampes, Galerie Lelong & Co., Paris, September 6–October 7, 2017.
Jean Dubuffet: L’Outil photographique. Atelier des Forges, Arles, France, July 3–September 24, 2017.
Dubuffet in the Rijksmuseum Gardens, Rijksmuseum, Amsterdam, July 1–October 1, 2017. (Catalogue)
Jean Dubuffet: The Deep End, Stedelijk Museum, Amsterdam, July 1, 2017–January 7, 2018..
Jean Dubuffet, Pace Prints, New York, April 19–May 26, 2017.
2016
Dubuffet Drawings, 1935–1962, The Morgan Library & Museum, New York, September 30, 2016–January 2, 2017. Traveled to: Hammer Museum, Los Angeles, January 29–April 30, 2017. (Catalogue)
Dubuffet. Jean des villes, Jean des champs, Lille métropole musée d’art modern d’art contemporain et d’art brut, Villeneuve d'Ascq, France, June 25, 2016–August 1, 2017.
Dubuffet: Late Paintings, Timothy Taylor, London, May 20–July 2, 2016.
Jean Dubuffet: Anticultural Positions, Acquavella Galleries, New York, April 15–June 10, 2016. (Catalogue)
Jean Dubuffet: Metamorphoses of Landscape, Fondation Beeler, Riehen/Basel, January 31–May 8, 2016. (Catalogue)
2015
Dubuffet: Form & Texture, James Goodman Gallery, New York, October 21–December 15, 2015.
1985/2015 Fondation Dubuffet: Trente ans d’acquisitions, Fondation Dubuffet, October 19, 2015 – February 20, 2016.
Jean Dubufet et les arts graphiques, Musée Pierre André Benoit, Alès, France, July 10–October 18, 2015.
Jean Dubuffet e I phenomenes, Botanical Garden, University of Padua, June 27–October 31, 2015.
2014
Jean Dubuffet: Soul of the Underground, The Museum of Modern Art, New York, October 18, 2014–April 5, 2015.
Dubuffet: L’Insoumis, Fonds Hélène et Édouard leclerc pour la culture, Landerneau, France, June 22–November 2, 2014. (Catalogue)
2013
Coucou Bazar de Jean Dubuffet, Les Arts Décoratifs, Paris, October 23–December 1, 2013. (Catalogue)
Jean Dubuffet: Transitions, Pallant House Gallery, Chichester, West Sussex, October 19, 2012–February 3, 2013.
Jean Dubuffet: Excursions en no man’s space, Pace Gallery, 32 East 57th Street, New York, September 10–October 26, 2013. (Catalogue)
Jean Dubuffet: L’Hourloupe de la peinture au monument, Aéroports de Paris, June 27, 2013–January 6, 2014.
Chaissac - Dubuffet,Entre plume et pinceau, L'Adresse - Musée de la Poste, Paris and Musée de l'Abbaye Sainte-Croix, Les Sables d'Olonne, May 27, 2013–January 26, 2014.
Dubuffet scriptions, jargons, gribouillis, Fondation Dubuffet, Paris, March 22–July 12, 2013.
2012
Jean Dubuffet: The Late Years, Vivian Horan Fine Art, New York, October 31, 2011–January 6, 2012.
Late Paintings by Jean Dubuffet (1975–82), Waddington Custot Galleries, London, March 7–April 14, 2012. (Catalogue)
Jean Dubuffet: The Last Two Years, The Pace Gallery, 510 West 25th Street, New York, January 20–March 10, 2012. (Catalogue)
2011
Jean Dubuffet, Pace Prints, New York, April 29–June 4, 2011.
Dubuffet Architecte, Henie Onstad Foundation, Høvikodden, Norway, March 10–May 29, 2011. Traveled to: Skissernas Museum/ Museum of Public Art, Lund, Sweden, 19 June–2 October 2011; Musée d'Ixelles, Brussels, October 20–January 22, 2012. (Catalogue)
Jean Dubuffet e l’Italia, Lucca Center of Contemporary Art, Italy, February 12–May 15, 2011. (Catalogue)
2009
Jean Dubuffet, Galerie Beyeler, Basel, October 20, 2009–January 9, 2010.
Jean Dubuffet: Attractions Terrestres (1943–1960), Galerie Jeanne-Bucher, Paris, October 15–November 28, 2009. (Catalogue)
Jean Dubuffet, Instituto Tomie Ohtake, São Paulo, Brazil, July 16–September 7, 2009. (Catalogue)
Illustrated Books by Jean Dubuffet, Literaturhaus, Munich, June 19–August 30, 2009.
Jean Dubuffet: Sculptures, Skulpturenpark Walfrieden, Wuppertal, Germany, May 15–September 27, 2009. (Catalogue)
Jean Dubuffet, Helly Nahmad Gallery, New York, April 20, 2009–April 3, 2010.
Cent dessins de Jean Dubuffet: Œuvres de 1964 à 1985, Galerie Jeanne-Bucher, Paris, March 19–April 30, 2009.
Jean Dubuffet: Ein Leben im Laufschritt, Langen Foundation, Neuss, Germany, February 1–May 24, 2009. Traveled to: Kunsthalle der Hypo-Kulturstiftung, Munich, June 19–August 30, 2009; Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany, September 27, 2009–January 10, 2010. (Catalogue)
Jean Dubuffet o el idioma de los muros, Fundación Luis Seoane, La Coruña, Spain, January 16–March 29, 2009 (Catalogue)
2008
Jean Dubuffet: Welcome Parade, The Sculpture Garden at 590 Madison Avenue, New York, November 6, 2008–April 20, 2010.
Jean Dubuffet: Monumental Sculpture from the Hourloupe Cycle, PaceWildenstein, 545 West 22nd Street, New York, October 10–November 8, 2008. (Catalogue)
Jean Dubuffet o el Idioma de los Muros, Círculo de Bellas Artes, Madrid, October 2–December 28, 2008. (Catalogue)
Jean Dubuffet Architecte, Palais des Archevêques, salle des Consuls à Narbonne, Narbonne, France, June 14–September 28, 2008.
2007
Jean Dubuffet, Galerie Boulakia, Paris, October 14–December 341, 2007. (Catalogue)
Jean Dubuffet: Les Dix Dernières Années, Espace Paul Rebeyrolle, Eymoutiers, France, June 24–October 14, 2007. (Catalogue)
Jean Dubuffet: Works on Paper from the 40s, 50s & 60s, Dorthea Elkon Gallery, New York, April 12–June 16, 2007.
Jean Dubuffet, 11e Pavilion des Arts et du Design, Paris, March 28–April 1, 2007. Traveled to: Galerie Hopkins-Custot, Paris, April 3–June 16, 2007. (Catalogue)
2006
Jean Dubuffet: 1901–1985, Retrospective, National Museum of Contemporary Art, Deoksugung, Korea, November 10, 2006–January 28, 2007. (Catalogue)
Ten Drawings by Jean Dubuffet from the Collection of Lili Dubuffet, Stoppenbach & Delestre, London, June 30–July 7, 2006. (Catalogue)
Jean Dubuffet: 1901–1985, Retretti Art Centre, Punkaharju, Finland, June 8–August 27. 2006. (Catalogue)
Jean Dubuffet: L’Hourloupe ou la Foire aux mirages, Galerie Jeanne-Bucher, Paris, March 23–April 29, 2006. (Catalogue)
Jean Dubuffet: Expériences musicales, Dubuffet Foundation, Paris, March 2–July 13, 2006. (Catalogue)
2005
Jean Dubuffet, 1901–1985, Palacio de Sástago, Zaragoza, December 23, 2005–February 12, 2006. (Catalogue)
Informale: Jean Dubuffet e l’arte europea, 1945–1970, Foro Boario, Modena, Italy, December 18, 2005–April 9, 2006. (Catalogue)
Jean Dubuffet: Œuvre grave 1944–1984, Pera Müzesi, Istanbul, October 26, 2005–January 8, 2006. Traveled to:Galerie Nev, Ankara, January 27–February 22, 2006. (Catalogue)
Jean Dubuffet et l’art brut, Musée d’Art Moderne, Villeneuve d’Ascq, October 15, 2005–January 29, 2006. (Catalogue)
Inflamed With Art: Jean Dubuffet and Art Brut, Museum Kunst Palast, Dusseldorf, Germany, February 19–May 29, 2005. Traveled to: Collection de l’Art Brut, Lausanne, Switzerland, June 23–September 25, 2005. (Catalogue)
Im Blickfeld: Jean Dubuffet, Hamburger Kunsthalle, Hamburg, January, 31–April 10, 2005. Traveled to: Stadtliche Kunsthalle Karlsruhe, Karlsruhe, April 30–June 26, 2005. (Catalogue)
2004
Jean Dubuffet: Lithographs, Silkscreens and Paintings from the Collection of the Jean Dubuffet Foundation, Paris, Ludwig Museum, Budapest, June 10–August 29, 2004. Traveled to: Varosi Muvészeti Museum, Györ, Hungary, September 15–October 15, 2004; Latvian Art Academy, Riga, June 11–August 29, 2004.
Legs Isalmina Dubuffet, Fondation Dubuffet, Périgny-sur-Yerres, France, November 26, 2004–January 7, 2005. (Catalogue)
2003
Jean Dubuffet: Trace of an Adventure, Rupertinum Museum, Salzburg, Austria, July 26–October 19, 2003. Traveled to: Guggenheim Bilbao, Spain, November 11, 2003–April 18, 2004. (Catalogue; text by Agnes Husslein)
2002
Jean Dubuffet: Coucou Bazar, Musée d’Unterlinden, Colmar, France, June 29–October 20, 2002. (Catalogue)
Jean Dubuffet: Peintures et sculptures de la période de l’Hourloupe, Château de Biron, Biron, France, June 22–September 28, 2002.
Jean Dubuffet: Expositions des œuvres de la Fondation Dubuffet, Collégiale Notre-Dame de Ribérac, Ribérac, France, June 22–September 28, 2002. (Catalogue)
Jean Dubuffet: Iitinéraire biographique et oeuvres sur papier, Espace culturel François Miterrand, Périgueux, France, June 21–September 28, 2002. Traveled to: Collegiale Notre-Dame, Riberac, France; Chateau de Biron, Monpazier. (Catalogue)
Jean Dubuffet e l’arte dei graffiti, Palazzo Martinengo, Brescia, Italy, May 26–October 6, 2002. (Catalogue)
2001
Jean Dubuffet: Rebuts/Rébus, Château d’Arenthon, Fondation pour l’art contemporain Claudine et Jean-Marc Salomon, Alex, France, October 30, 2001–February 3, 2002.
Jean Dubuffet: La collection du musée, Musée d’Art Moderne, Saint-Etienne, France, October 25, 2001–February 11, 2002.
Jean Dubuffet: Une biogrphie au pas de course, Dubuffet Foundation, Paris, October 5, 2001–March 1, 2002.
Maquettes for monuments by Jean Dubuffet, The Study Galleries, Leeds City Art Gallery, Leeds, England, September 21, 2001–January 6, 2002.
Jean Dubuffet: L’exposition du Centenaire, Musée d’Art Moderne Geroges Pompidou, Paris, September 12–December 31, 2001. (Catalogue)
Jean Dubuffet: Focus on the Collection, Israel Museum, Jerusalem, July 10, 2001–July 10, 2002. (Catalogue)
Le Théâtre de Jean Dubuffet, Musée Malraux, Le Havre, France, May 19–September 3, 2001. (Catalogue)
Livres en Jargon de Jean Dubuffet, Bibliotheque municipale A. Salacrou, Le Havre, May 9–July 13, 2001.
Jean Dubuffet: Late Paintings, Michael Werner Gallery, New York, March 8–May 5, 2001. Traveled to: Galerie Michael Werner, Cologne, May 12–June 23, 2001. (Catalogue)
Jean Dubuffet: The Late Works, Waddington & Tribby Fine Art, West Palm Beach, Florida, January 15–February 10, 2001.
2000
Jean Dubuffet: Obras sobre papel, Fundaçao Arpad Szenes-Vieira da Silva, Lisbon, Portugal, November 16, 2000–January 14, 2001.
Jean Dubuffet, Culturgest, Edificio Sede da Caixa Geral de Depositios, Lisbon, Portugal, October 10–December 31, 2000.
Jean Dubuffet: Late Paintings, Waddington Galleries, London, September 6–September 30, 2000. Concurrent with: Jean Dubuffet: Works on Paper from 1943 to 1985, Waddington Galleries, London, September 6–September 30, 2000. (Catalogues)
Jean Dubuffet – L’Hourloupe ou la Foire aux mirages, Centre d’Art contemporain Château des Adhémar, Montélimar, France, June 17–September 17, 2000.
Jean Dubuffet, Galeria Loggia, Koper-Capodistria, Slovenia, May 12–June 30, 2000.
Jean Dubuffet, Stand de la Galerie Hopkins-Thomas-Custot au Pavillon des Antiquaires et des Beaux-Arts, Paris, February 25–March 5, 2000.
Los Dubuffet de Dubuffet, Banco Bilbao Vizcaya Argentina, Madrid, January 12–February 27, 2000. Traveled to: Museo de Bellas Artes, Bilbao, March 7–April 23, 2000. (Catalogue)
1999
Jean Dubuffet, Galerie Lea Gredt, Luxembourg, November 20, 1999–January 8, 2000.
Jean Dubuffet – Parcours monumental, Dessins et maquettes d’architecture, Hôtel de la Monnaie, Paris, November 5–December 5, 1999.
Jean Dubuffet: Figuren und Köpfe, Saarland Museum, Saarbrücken, Germany, September 12–November 14, 1999. (Catalogue)
Jean Dubuffet: L’oeuvre gravé, Centre d’art du Tremblay, Fontenoy, France, July 10–October 30, 1999.
Jean Dubuffet: Last Paintings, Waddington Galleries, London, March 3–April 1, 1999.
Jean Dubuffet: Tableaux 1943–1955, Galerie Karsten Greve, Cologne, January 29–March 29, 1999.
1998
Jean Dubuffet: l’oeuvre gravé, les livres illustrés, les affiches, Musée Mèque et Ecole supérieure d’art, Cambrai, France, December 10, 1998–March 28, 1999.
Jean Dubuffet vu par Andreas Franzke, Centre Culturel Français, Karlsruhe, Germany, October 8–31, 1998.
Retrospective Jean Dubuffet 1919–1985, National Museum of History, Taipei, Taiwan, September 26–December 20, 1998. (Catalogue)
Jean Dubuffet: L'oeuvre gravé, 1944–1984, Chapelle du Carmel, Musée de Libourne, France, July 3–October 31, 1998. (Catalogue)
Jean Dubuffet: Paysages du mental, Musée des Beaux-Arts, Carcassonne, France, July 3–September 26, 1998. (Catalogue)
Jean Dubuffet, Centre Culturel Franco-Norvégien 1944–1962 Rogoland Kunstmuseum 1962–1984, Stavanger, Norway, March 8–May 10, 1998.
1997
Jean Dubuffet: Works from 1951 to 1984, Art Focus, Zurich, Switzerland, November 1, 1997–January 31, 1998. (Catalogue)
Jean Dubuffet au Donjon de Vez, Donjon de Vez, France, June 8–September 21, 1997. (Catalogue)
Jean Dubuffet, Espace Arts Plastiques, Villefranche-sur-Saône, France, June 6–August 23, 1997.
Jean Dubuffet, Modern Art Museum, Toyama, Japan, May 10–June 15, 1997. Traveled to: Musée Municipal d’Art, Kurashiki, Japan, June 21–July 27, 1997; Art Museum of Isetan, Tokyo, Japan, July 31–August 31, 1997; Musée Préfectoral d’Art, Fukushima, Japan, September 6–October 5, 1997; Municpal Museum of Art, Himeji, Japon, October 10–November 16, 1997. (Catalogue)
Jean Dubuffet, Frühe Lithographien, Galerie Franke, Stuttgart, Germany, April 12–May 31, 1997.
1996
Jean Dubuffet – Du trait á la matière, Centre Culturel Le Botanique, Brussels, Belgium, November 8, 1996–February 16, 1997. (Catalogue)
Jean Dubuffet, Sculpture et architecture, Banque Générale du Luxembourg, October 7–November 10, 1996.
Jean Dubuffet, Galerie Pascal Lansberg, Paris, September 26–November 30, 1996. (Catalogue)
Jean Dubuffet, le troisième oeil, sculptures, dessins et maquettes d’architecture, Dubuffet Fondation, Paris, May 30–July 30, 1996.
Jean Dubuffet: Non-Lieux, Cohen Gallery, New York, April 21–June 15, 1996.
Jean Dubuffet: The Radiant Earth, PaceWildenstein, New York, February 22–March 23, 1996. (Catalogue)
1995
Jean Dubuffet, Gana Art Gallery, Seoul, October 18–28, 1995. (Catalogue)
Jean Dubuffet: Noir et blanc, Dubuffet Fondation, Paris, September 20–November 20, 1995. (Catalogue)
Jean Dubuffet: Les Phènomènes, Galerie Baudoin Lebon, Paris, September 15–October 21, 1995.
Jean Dubuffet: Bilder, Federzeichnungen, Lithografien, Radierungen, Open Art’95, Galerie Klewan, Munich, September 8–10, 1995.
Jean Dubuffet-Les Murs: 15 Lithografien der Folge von 1945, Galerie Eingang, Munich, September 8–10, 1995.
Jean Dubuffet: The Early Eighties, André Emmerich, New York, September 5–30, 1995.
Chambres pour Jean Dubuffet, Emile Hugues Foundation, Château de Villeneuve, Vence, France, July 1–October 30, 1995. (Catalogue)
Jean Dubuffet, ‘La periode de Vence’, Galerie Alphonse Chave, Vence, France, July 1–September 30, 1995. (Catalogue)
Jean Dubuffet: Œuvre gravé et œuvres du Pas-de-Calais, Musée du Touquet, Le Touquet, France, July 1–September 3, 1995. (Catalogue)
Jean Dubuffet, œuvre gravé, Musée National de Peinture et de Sculpture, Ankara, Turkey, May 5–June 2, 1995.
Jean Dubuffet: Voyages au Sahara, Espace 13-Art Contemporain Conseil général des Bouches du Rhône, Aix-en-Provence, France, March 29–May 31, 1995. (Catalogue)
Jean Dubuffet, Kunst Haus Wien, Austria, February 15–May 7, 1995. (Catalogue)
1994
Jean Dubuffet: Les Phènomènes, Galerie Daniel Blau, Munich, November 1–30, 1994. (Catalogue)
Jean Dubuffet, artiste et écrivain, Bibliothèque Municipale, Le Havre, France, September 17–October 23, 1994. (Catalogue
Jean Dubuffet 'Hauts-Lieux' Landscapes 1944–1984, Palais des Papes et Musée du Vieil, Avignon, June 30–October 2, 1994. (Catalogue)
Jean Dubuffet: Peintures et sculptures 1920–1984, Dubuffet Foundation, Périgny-sur-Yerres, France, May 31–July 22, 1994.
The Art of Assemblage: Early Works, Locks Gallery, Philadelphia, May 18–June 30, 1994.
Jean Dubuffet: L’Hourloupe, Waddington Galleries, London, May 12–June 11, 1994. (Catalogue)
Jean Dubuffet: Dessins et Gouaches 1919–1985, Dubuffet Foundation, Paris, May 4–July 22, 1994.
Jean Dubuffet: Figurative Works, Cohen Gallery, New York, April 23–June 4, 1994. (Catalogue)
Jean Dubuffet: L’œuvre gravé 1944–1984, SAGA, Porte de Versailles Stand Dubuffet Foundation, Paris, March 23–28, 1994. Traveled to: Hospice Saint-Charles, Rosny-sur-Seine, France, September 10–October 9, 1994.
1993
Jean Dubuffet: 1901–1985, Galerie Zacheta, Warsaw, December 19, 1993–February 20, 1994. (Catalogue)
Jean Dubuffet: Opere 1948–1981, Galleria Blu, Milan, December 17, 1993–March 19, 1994. (Catalogue)
Une regard sur Jean Dubuffet, Banque Paribas, Luxemburg, December 1–16, 1993. (Catalogue)
Jean Dubuffet, Galerie Stëpanska 35, Prague, October 21, 1993–January 3, 1994.
Jean Dubuffet, Institut Francais, Prague, October 20, 1993–January 3, 1994.
Jean Dubuffet, Narodni galerie v Praze, Manege du chateau, Prague, October 5–November 28, 1993. (Catalogue)
Jean Dubuffet: Les Phenomenes, Cabinet des estampes du muse d’art et d’histories, Geneva, September 23–November 7, 1993.
Jean Dubuffet et Pierre André Benoit: Une amitié, Musée Bibliothèque Pierre André Benoit, Alès, France, July 6–October 10, 1993. Traveled to: Dubuffet Foundation, Paris, November 3–December 20, 1993.
Jean Dubuffet 1943–1963: Paintings, Sculptures, Assemblages, Hirshhorn Museum and Sculpture Garden, Washington, D.C., June 16–September 12, 1993. (Catalogue)
Jean Dubuffet: The Early Works 1940s–1950s, The National Museum of Art, Osaka, June 12–August 1. (Catalogue)
Jean Dubuffet: Œuvres de jeunesse et autres 1917–1945, Dubuffet Foundation, Paris, May 18–July 23, 1993.
Rétrospective Jean Dubuffet, Fondation Pierre Gianadda, Martigny, Switzerland, March 4–June 10, 1993. (Catalogue)
1992
Jean Dubuffet: Monuments, Galerie Daniel Gervis, Paris, October 15–November 28, 1992. (Catalogue)
Jean Dubuffet: Les livres illustres, Galerie Arenthon, Paris, October 10–October 21, 1992.
J. Dubuffet: Œuvre grave, petite villegiature au pays des personnages, Centre culturel du Palais Bénédictin, Fécamp, June 26–September 20, 1992. (Catalogue)
Jean Dubuffet: Affichiste, Dubuffet Foundation, Paris, May 27–July 24, 1992.
Jean Dubuffet: Monuments, Galerie Daniel Gervis, Cannes, May 6–June 30, 1992. Traveled to: Galerie Daniel Gervis, Paris, October 15–November 28, 1992.
Jean Dubuffet: L’œuvre lithogrpahique 1944–1984, Centre d’art contemporain, Abbaye de Beaulieu-en-Rouergue, Ginals, France, April 10–May 31, 1992. (Catalogue)
Jean Dubuffet: Prints 1944–1959, Annandale Galleries, Melbourne, Australia, April 8–May 9, 1992.
Jean Dubuffet, Galerie Eric Van de Weghe, Brussels, March 11–April 18, 1992. (Catalogue)
Jean Dubuffet: Del paisaje fisico al paisaje mental, Fundación Caja de Pensiones, Madrid, March 5–April 25, 1992. (Catalogue)
Jean Dubuffet: Fondation Pierre Gianadda, Martigny, Switzerland, March 4–June 10, 1992.
1991
Les Jean Dubuffet de Jean Dubuffet, Musée des Arts Décoratifs, Paris, October 1, 1991–February 16, 1992. Traveled to: Musée d’Art moderne et d’art contemporain, Nice, May 20–August 30, 1992; Ancienne Douane, Strasbourg, June 25–October 3, 1993; Musée d’art moderne, Toulouse, March 25–May 29, 1994; Musée d’art moderne de Villeneuve d’Ascq, Lille, October 15, 1994–January 29, 1995; Musée des Beaux-Arts, Angers, July 8–October 29, 1995; Musée des arts decoratifs, Paris, February 7–June 30, 1996; Banco Bilbao Vizcaya Argentaria, Madrid, January 12–February 27, 2000; Museo de Bellas Artes, Bilbao, March 7–April 23, 2000; Spazio Oberdan, Milan, May 6–July 16, 2000. (Catalogue)
Jean Dubuffet: Peinture et Matière, Galerie Hadrien Thomas, Paris, September 12–November 10, 1991.
Jean Dubuffet: Lithographien aus 1959, Galerie H.S.Steinek, Vienna, September 10–October 11, 1991.
Jean Dubuffet: Les dernières années, Galerie Nationale du Jeu de Paume, Paris, June 20–September 22, 1991. (Catalogue)
Jean Dubuffet: Peintures-Sculptures 1953–1971: Les années d’une amitié avec Alexandre Vialatte (two-part exhibition), FRAC Auvergne, Clermont Ferrand, France (1953–1962, Sur La Route du Grand Magma) and Centre Culturel Issoire (1962–1971, l’hourloupe), Clermont-Ferrand, Issoire, France, June 16–September 22, 1991. (Catalogue)
Jean Dubuffet: Lithographe 1944–1984, Dubuffet Fondation, Paris, June 12–July 26, 1991.
Jean Dubuffet: Matière et Mémoire, Galerie Weber, Geneva, June 6–July 20, 1991.
Jean Dubuffet: Dans la perspective du Deviseur: Psychosites, Mires, Non-lieux, Galerie Jeanne-Bucher, Paris, May 31–July 12, 1991. (Catalogue)
Jean Dubuffet: Forties-Fifties-Sixties: Paintings and Drawings, The Elkon Gallery, Inc., New York, April 23–June 8, 1991.
Jean Dubuffet: Sahara, Galerie Baudoin Lebon, Paris, April 13–May 25, 1991. (Catalogue)
Jean Dubuffet, El Anarquitecto Del Suelo, Sala Amarica-Aretoa, Vitoria-Garteiz, Spain, April 11–May 12, 1991. Traveled to: Museo de Zaragoza-Diputacion General de Aragon, Saragossa, Spain, May 18–June 16, 1991; Sala Amos Salvador-Cultural rioja, Logrôno, Spain, July 5–September 4, 1991.
1990
Jean Dubuffet 1901–1985, Schirn Kunsthalle, Frankfurt, December 11, 1990–March 3, 1991. (Catalogue)
Jean Dubuffet: L'écriture griffée 1934–1960, Musée d'Art Moderne Saint Etienne, December 6, 1990–February 25, 1991.
Coup d’oeil sur Jean Dubuffet, Bibliothèque Louis Aragon, Choisy-le-Roi, France, October 14–December 1, 1990.
Jean Dubuffet: Des années 50 aux années 80, Galerie Urban, Paris, October 3–27, 1990. (Catalogue)
Jean Dubuffet: Oukiva Trene Sebot par Jandu Bufe, Dubuffet Foundation, Paris, June 6–July 7, 1990.
Jean Dubuffet, Galerie K, Paris, May 17–May 20, 1990.
Jean Dubuffet: Le Belvédère Mandiargues, Artcurial, Paris, May 10–July 13, 1990.
Jean Dubuffet 1901–1985, Waddington Galleries, London, April 25–May 19, 1990. (Catalogue)
Jean Dubuffet (Oeuvres graphiques), French Cultural Center Rome, January 31–February 25, 1990.
1989
Jean Dubuffet: Souvenirs du Sahara, Dubuffet Fondation, Paris, December 13, 1989–January 12, 1990.
Jean Dubuffet 1901–1985, Galleria Nazioinale d’Arte Moderna, Rome, December 7, 1989–February 25, 1990. (Catalogue)
Jean Dubuffet, Galerie des Beaux-Arts, Nantes, France, November 7–December 13, 1989.
Jean Dubuffet, Galerie Bernard Cats, Brussels, September 28–October 28, 1989.
Jean Dubuffet: Ein revolutionäer maler, Kunstverein, Hamburg, Germany, July 14–September 3, 1989. (Catalogue)
Jean Dubuffet: Wege zur Abstraktion, Galerie Beyler, Basel, July–September 1989.
Jean Dubuffet: Suivis de Lieux et non lieux, Paysages du mental, Regards sur l’oeuvre d’un philosophe, Galerie Jeanne-Bucher, Paris, May 31–July 20, 1989. (Catalogue)
Jean Dubuffet: Earth and Terrain: Assemblages, Texturologies and Materiologies (Paintings and Works on Paper from 1855–1962), Arnold Herstand and Co., New York, May 6–July 8, 1989. (Catalogue)
Jean Dubuffet: Figure in Sculpture, Artcurial, Paris, April 27–July 1, 1989.
Jean Dubuffet: Bilderstreit; Widerspruch, Einheit und Fragment in der Kunst seit 1960, Museum Ludwig, Cologne, April 8–June 28, 1989.
16 Affiches de Jean Dubuffet, ESSEC, Cergy-Pontoise, France, March 7–March 10, 1989.
Jean Dubuffet Prints from The Museum of Modern Art, The Museum of Modern Art, Fort Worth, Texas, March 5–April 23, 1989. Traveled to: Art Museum of South Texas, Corpus Christi, June 2–July 16, 1989; The William Benton Museum of Art, Storrs, Connecticut, October 22–December 22, 1989; The Detroit Institute of Arts, Michigan, March 1–May 30, 1990; Krannert Art Museum, Champaign, Illinois, September 24–October 7, 1990. (Catalogue)
Jean Dubuffet, Hokin Gallery, Palm Beach, Florida, February 1–25, 1989.
1988
Boqueteau sculpture monumentale de Jean Dubuffet, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, 1988.
Jean Dubuffet: Aquarelle, Gouachen, Zeichnungen, Galerie Beyeler, Basel, December 15–31, 1988.
Jean Dubuffet, L’Hourloupe: La Tour aux figures et autres édifices, C.N.A.P., Ministère la Culture, Paris, October 25–November 30, 1988.
À propos de la Tour aux figures de Jean Dubuffet, Musée Municipal, Issy-les-Moulineaux, France, October 23–December 31, 1988.
Jean Dubuffet: Qui rassemble la foule... la captive, Landau Beaux-Arts, Montreal, October 13–November 26, 1988.
Jean Dubuffet Retrospective, Kunst Foreningen Copenhagen, September 3–October 9, 1988. Traveled to: Amos Anderson Konst-museum, Helsinki, November 4, 1988–January 8, 1989; Henie-Onstad Kunstsenter, Høvikkodden, Norway, January 19–February 26, 1989.
Il teatro di Jean Dubuffet: Coucou Bazar, Galleria Franca Mancini, Pesaro, Italy, July 26–August 30, 1988.
Jean Dubuffet: Around the Boqueteau, Centre d’Art de Flaine, Flaine, France, June 18, 1988–January 1, 1989.
Jean Dubuffet, Centre d’Art Contemporain-Château de Tanlay, Tanlay, France, June 11–October 3, 1988.
Jean Dubuffet: Skulptur, Relief, Collage, Galerie Gmurzynska, Cologne, April 29–July 20, 1988.
Jean Dubuffet: Hourloupe Sculptures, James Goodman Gallery, New York, April 5–30, 1988. (Catalogue)
Jean Dubuffet: Sols et terrains, Contemporary Art Gallery, Tokyo, March 18–April 13, 1988.
Jean Dubuffet: Petit Parcours, Centre d’Art Nicolas de Staël, Braine L’Alleud, France, February 29–March 27, 1988.
Jean Dubuffet-Sols et terrains 1956–1960, Galerie de France and Galerie Baudoin Lebon, Paris, January 12–March 5, 1988. (Catalogue)
1987
Jean Dubuffet: Non-lieux, Galerie Jeanne-Bucher, Paris, September 30–November 7, 1987. (Catalogue)
Jean Dubuffet: Works on Paper 1974–1985, Waddington Galleries, London, September 30–November 7, 1987. (Catalogue)
Jean Dubuffet 1901–1985, Gallery Michael Haas, Berlin, September 18–November 7, 1987. (Catalogue)
Lighographies de Jean Dubuffet, Galerie Steinek, Vienna, June 1–June 30, 1987.
Jean Dubuffet: Dessins et Collages, Galerie di Meo, Paris, May 22–July 15, 1987. (Catalogue)
Jean Dubuffet: Towards an Alternative Reality, The Pace Gallery and Wildenstein & Co., New York, April 22–May 29, 1987. (Catalogue)
1986
Jean Dubuffet: Last Ten Years, Gatodo Gallery Takeshiba, Tokyo, 1986.
Jean Dubuffet and Art Brut, Peggy Guggenheim Collection, Venice, November 16, 1986–March 16, 1987. (Catalogue)
Jean Dubuffet: Retrospective, Urban Gallery, New York, November 11–December 10, 1986. (Catalogue)
Jean Dubuffet: The First Two Decades (1943–1963), The Elkon Gallery, New York, October 30, 1986–July 31, 1987. (Catalogue)
Jean Dubuffet, Galerie Zographia, Bordeaux, France, September 18–October 18, 1986.
Jean Dubuffet: Ecrits – Images, Musée Hycinthe Rigaud, Perpignan, France, July 7–September 15, 1986. (Catalogue)
Jean Dubuffet, Galerie Jeanne Bucher, Paris, May 12–May 30, 1986.
Jean Dubuffet: Prints and Books from the Bareiss Collection, Toledo Museum of Art, Ohio, April 26–August 31, 1986.
Jean Dubuffet: Retrospective 1943–1981, Goldman Kraft Gallery, Chicago, April 11–April 30, 1986.
1985
Jean Dubuffet, James Goodman Gallery, New York, 1985.
Jean Dubuffet: Paintings, Drawings, Prints, Charles Foley Gallery, 1985.
Jean Dubuffet: Paintings and Sculpture, Malmö-Konsthall, Sweden, 1985.
Salut a Jean Dubuffet, Galerie Alphonse Chave, Vence, France, 1985. (Catalogue)
Jean Dubuffet, Waddington Galleries, London, October 30–November 23, 1985. (Catalogue)
Jean Dubuffet: Retrospektive, Galerie Beyeler, Basel, October 18, 1985–January 30, 1986. (Catalogue)
Jean Dubuffet: Oriflammes, Galerie La Hune, Paris, September 25, 1985.
Jean Dubuffet: Oeuvres sur papier, Musée des Beaux-Arts André Malraux, Le Havre, France, September 14–15, 1985.
Jean Dubuffet: Non-Lieux, Musée national d’Art moderne Centre Georges Pompidou, Paris, June 26–September 30, 1985. (Catalogue)
Jean Dubuffet Rétrospective, Maeght Foundation, Saint Paul de Vence, France, July 6–October 6, 1985. (Catalogue)
Jean Dubuffet: Les lendemains de l’Hourloupe 1974–1984, Ecole des Beaux-Arts, Paris, May 2–June 16, 1985. (Catalogue)
Jean Dubuffet: Exercises Lithogrpahiques 1982–1984, Galerie du 7/Atelier Bordas, Paris, February 19–March 11, 1985. (Catalogue)
Jean Dubuffet: Forty Years of his Art, Washington University Gallery of Art, St. Louis, Missouri, January 20–March 3, 1985.
1984
Jean Dubuffet¸ Malmö Konsthall, Sweden, December 15, 1984–March 10, 1985. (Catalogue)
Jean Dubuffet: Mires, Galerie Jeanne Bucher, Paris, October 15–December 10, 1984. (Catalogue)
Jean Dubuffet: Forty Years of his Art, David and Alfred Smart Gallery, The University of Chicago, October 4–September 2, 1984. (Catalogue)
Jean Dubuffet: Paysage du Pas-de-Calais Gratte Merluche et autres œuvres, Musée des Beaux-Arts, Calais, France, June 16–September 3, 1984. (Catalogue)
Jean Dubuffet: Mires 1983–1984, Biennale de Venise - Pavillon français, Venice, June 10–September 15, 1984. (Catalogue)
Jean Dubuffet: Œuvres de 1946 à 1980, Galerie Sonia Zannettacci, Geneva, June 5–July 31, 1984.
Jean Dubuffet, Reconnaissance Gallery, Fitzroy (Melbourne) Victoria, Australia, April 26–May 19, 1984.
Jean Dubuffet: Paintings & Sculpture, Weintraub Gallery, New York, April 6–May 31, 1984.
Jean Dubuffet, Ray Hughes Gallery, Red Hill (Brisbane), Queensland, Australia, March 23–April 12, 1984.
Jean Dubuffet, Maison de la Culture, Amiens, France, March 15–May 13, 1984. (Catalogue)
Jean Dubuffet: Dessins Peintures 1942–1983, Maison de la Culture, Amiens, France, March 15–May 12, 1984. (Catalogue)
Jean Dubuffet, Ecole des Beaux arts, Perpignan, France, February 13–March 2, 1984.
Jean Dubuffet, Malmö-Konsthall, Sweden, December 15, 1984–March 10, 1985. (Catalogue)
Jean Dubuffet: Mires, The Pace Gallery, 32 East 57th Street, New York, December 7, 1984–January 12, 1985. (Catalogue)
1983
Jean Dubuffet: Collagen, Zeichnungen, Galerie Steinek, Vienna, November 25–December 20, 1983.
Jean Dubuffet, Two Decades: 1943–1962, Donald Morris Gallery, Birmingham, Alabama, November 1–31, 1983. (Catalogue)
Jean Dubuffet: A Retrospective, Waddington Galleries, London, October 5–29, 1983. (Catalogue)
Jean Dubuffet, Galerie Jonas, Cortaillod (Neuchâtel), Switzerland, October 1–30, 1983.
Jean Dubuffet, choix d’œuvres de 1942 à 1981, Galerie Baudoin Lebon, Paris, September 20–November 12, 1983.
Jean Dubuffet bei Thomas, Galerie Thomas, Munich, June 10–July 30, 1983. (Catalogue)
Jean Dubuffet: Paintings, Barbara Krakow Gallery, Boston, May 7–June 1, 1983.
Jean Dubuffet, Zuger Kunstgesellschaft, Zug, Switzerland, January 30–March 13, 1983. (Catalogue)
Jean Dubuffet: Zeichnungen 1942–1981, Kunsthalle, Tübingen, Germany, January 15–March 6, 1983. Traveled to: Kunstmuseum, Hanover, March 20–May 23, 1983; Staatliche Graphische Sammlung, Munich, June 8–July 31, 1983.
Jean Dubuffet, Hokin Gallery, Palm Beach, Florida, January 11–February 3, 1983.
1982
Jean Dubuffet: Partitions, Psycho-sites, The Pace Gallery, New York, December 3, 1982–January 8, 1983. (Catalogue)
Jean Dubuffet: Des Psycho-sites, Galerie Jeanne Bucher, Paris, November 9–December 20, 1982. (Catalogue)
Jean Dubuffet: Lavori recenti, Studio d’Arte Cannaviello, Milan, October 6–November 20, 1982. (Catalogue)
Jean Dubuffet: Livres et estampes, récents enrichissements, Bibliothèque nationale, Paris, June 3–July 13, 1982. (Catalogue)
Jean Dubuffet: Œuvres de 1943 à 1978, Galerie Bonnier, Geneva, February 16–April 15, 1982. (Catalogue)
Jean Dubuffet, Seibu Museum of Art, Tokyo, January 2–February 21, 1982. Traveled to: National Museum of Art, Osaka, February 26–March 28, 1982. (Catalogue)
1981
Jean Dubuffet: Early Drawings/Collages 1943–1959, Galerie Pierre Matisse, New York, November 17–December 19, 1981. (Catalogue)
Jean Dubuffet, Sites aux figurines, Psycho-sites, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, September 23–November 23, 1981. (Catalogue)
Jean Dubuffet at 80, Most Recent Work, Richard Gray Gallery, Chicago, September 25–November 3, 1981. (Catalogue)
Jean Dubuffet, Waddington Galleries, London, September 9–October 3, 1981. (Catalogue)
Jean Dubuffet: A Retrospective Glance at Eighty, Solomon R. Guggenheim Museum, New York, July 31–September 27, 1981. (Catalogue)
Jean Dubuffet: I Teatri della memoria, Palazzo Medici-Riccardi, Florence, May 30–September 6, 1981. (Catalogue)
Jean Dubuffet: Recent Works, Galerie Wildenstein, Tokyo, May 22–June 26, 1981. (Catalogue)
1980
Le Salon d’été de Jean Dubuffet, Comité d’Etablissement, RNU (Renault-Le Havre), Sandouville, France, November 7–28, 1980. (Catalogue)
Jean Dubuffet: Three Decades of Printmaking, Pace Editions, New York, October 31–November 29, 1980.
Jean Dubuffet: Brefs exercices d’école journalière, The Pace Gallery, New York, October 31–November 29, 1980. (Catalogue)
Dubuffet Retrospektive, Akademie der Künste, Berlin, September 7–October 26, 1980. Traveled to: Museum Moderner Kunste, Vienna, November 20, 1980–January 18, 1981; Josef-Haubrich-Kunsthalle, Cologne, February 7–March 29, 1981. (Catalogue)
Jean Dubuffet, Musée d’Unterlinden, Colmar, France, June 27–October 5, 1980.
Jean Dubuffet – Paintings and Works on Paper, Waddington Galleries, London, May 7–31, 1980. (Catalogue)
Jean Dubuffet: Drawings, Collages and Paintings, Janie C. Lee Gallery, Houston, April 12–May 24, 1980.
Jean Dubuffet: Sammlung Neuerburg, Walraf-Richartz Museum, Cologne, April 1–27, 1980. (Catalogue)
Jean Dubuffet: Brefs exercices d’école journalière, Galerie Rudolf Zwirner, Cologne, March 21–April 1980. (Catalogue)
Jean Dubuffet: Œuvre Graphique, Galerie Ponce, Mexico City, January 15–February 20, 1980. (Catalogue)
1979
Les Dessins de Jean Dubuffet, Centre Noroit, Arras, France, May 19–July 1, 1979. (Catalogue)
Jean Dubuffet, Pace Columbus, Ohio, May 1979.
Jean Dubuffet: Théâtres de mémoire: Scènes champêtres, The Pace Gallery, New York, March 17–April 21, 1979. Concurrent with: Richard Gray Gallery, Chicago, March 17–April 21, 1979. (Joint catalogue with The Pace Gallery)
Jean Dubuffet, Kleine Bilder und Zeichnungen von 1979, Galerie Rudolf Zwirner, Cologne, March 1979–April, 1980. (Catalogue)
Serigraphies nouvelles de Jean Dubuffet, Librairie-galerie La Hune, Paris, March 1979.
Jean Dubuffet: Sculpture, Drawings and Graphics, Hokin Gallery, Palm Beach, February 6, 1979–March 3, 1979.
1978
Jean Dubuffet, Galerie Collection d’Art, Amsterdam, December 9, 1978–February 4, 1979.
Jean Dubuffet, Sérigraphies 1968–1978, La Sérigraphie, Paris, December 7, 1978–January 13, 1979.
Jean Dubuffet: Théâtres de mémoire, Galerie Claude Bernard, Paris, September 28–November 28, 1978. (Catalogue)
Jean Dubuffet, Thomas Gibson Fine Art Ltd., London, September 1978.
FIAT presenta Jean Dubuffet: Coucou Bazar, Palazzina della Promotrice delle Belle Arti al Valentino, Turin, June 16–July 15, 1978. (Catalogue)
The Early Years 1943 to 1959, an Exhibition of Paintings by Jean Dubuffet, Pierre Matisse Gallery, New York, May 9–June 3, 1978. (Catalogue)
Le Salon d’été et autres de Jean Dubuffet, Musée des Arts Décoratifs, Paris, March 30–April 30, 1978. (Catalogue)
Jean Dubuffet, Fuji Television Gallery Co, Ltd., Tokyo, February 2–March 1978. (Catalogue)
Jean Dubuffet: Matériologies and Texturologies from the Milton D. Ratner Family Collection, Summit Art Center, New Jersey, January 8–February 5, 1978. Traveled to: Florida International University Museum, Miami, 1978; Herbert F. Johnson Museum of Art, Ithaca, New York, July 18–September 3, 1978; University of Texas Art Museum, Austin, 1978; Indianapolis Museum of Art, Indiana, 1978; Birmingham Museum of Art, Alabama, 1979. (Catalogue)
1977
Jean Dubuffet: Sculptures et praticables, Galerie Daniel Gervis, Paris, October 19–December 20, 1977.
Jean Dubuffet: Théâtres de mémoire, Assemblages, 1976–1977, Galerie Rudolf Zwirner, Cologne, October 7–November 24, 1977. (Catalogue)
Jean Dubuffet: Paintings, Collages, Praticables, Drawings, Prints, Albert White Gallery, Toronto, October 1–November 3, 1977.
Jean Dubuffet. Paintings, Gouaches, Collages, Drawings, Galerie Valeur, Nagoya, May 30–June 11, 1977.
Jean Dubuffet: Théâtres de mémoire, The Pace Gallery, New York, March 26–April 23, 1977. (Catalogue)
Jean Dubuffet: Paintings, Drawings and Serigraphs, Makler Gallery, Philadelphia, March 14–April 15, 1977.
Jean Dubuffet: Werke 1963–1976, Badischer Kunstverein, Karlsruhe, Germany, March 8–April 17, 1977. Traveled to: Karl Ernst Osthaus Museum, Hagen, January 7–February 12, 1978. (Catalogue)
Jean Dubuffet: Werkauswahl 1945–1975, Bündner Kunstmuseum Chur, Coire, Switzerland, March 6–April 3, 1977. (Catalogue)
Jean Dubuffet: Écrits, illustrations, Bibliothèque Municipale du Havre, France, February 19–March 19, 1977. (Catalogue)
J. Dubuffet, Musée des Beaux Arts André Malraux, Le Havre, France, February 18–March 20, 1977. (Catalogue)
Jean Dubuffet: Recent Paintings, Hokin Gallery, Palm Beach, January 12–February 7, 1977.
1976
Jean Dubuffet at Pace Columbus, Pace Columbus, Ohio, May 15–June 30, 1976.
Jean Dubuffet: Parachiffres, Mondanités et autres peintures de 1975, Galerie Beyeler, Basel, May–June 1976. (Catalogue)
Jean Dubuffet, B.C. Holland Gallery, Chicago, April 5–30, 1976.
Oils and Works on paper by Jean Dubuffet, Medici II Gallery, Bay Harbor Island, Florida, March 1976.
Jean Dubuffet, Fundación Juan March, Madrid, February 9–March 31, 1976. (Catalogue)
Jean Dubuffet, Galerie Claudine Planque, Lausanne, February–March 1976.
Jean Dubuffet Parachiffres, Mondanités et autres peintures de 1975, Musée des Arts Décoratifs, Paris, January 23–February 23, 1976. (Catalogue)
Jean Dubuffet, William Pall Gallery, New York, January 21–February 21, 1976.
1975
Jean Dubuffet: Paintings 1974, Waddington Galleries, London, October 28–November 22, 1975. (Catalogue)
Dubuffet: A Selection, Robert Elkon Gallery, New York, September 27–October 29, 1975. (Catalogue)
Jean Dubuffet: Paysages Castillans, Sites Tricolores, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, February 19–March 16, 1975. Traveled to: Galerie Beyeler, Basel, April–May 1975; The Pace Gallery, New York, September 20–October 18, 1975. (Catalogue)
1974
Jean Dubuffet, Museum of Art, Carnegie Institute, Pittsburgh, 1974.
Jean Dubuffet: Ten Paintings from the Collection of Thomas Gibson Fine Art, Thomas Gibson Fine Art, London, 1974. (Catalogue)
Jean Dubuffet: Empreintes, Galerie Schreiner, Basel, November 30, 1974–January 31, 1975. (Catalogue)
Jean Dubuffet: Pintures y esculturas, Galerie Ynguanzo, Madrid, October 23–November 1974.
Jean Dubuffet: Six New Acquisitions, Solomon R. Guggenheim Museum, New York, October 1–20, 1974.
Jean Dubuffet: Persons and Places, Stadtische Kunsthalle, Dusseldorf, Germany, June 13–July 14, 1974.
Jean Dubuffet, Galerie Charles Kriwin, Brussels, May 16–June 16, 1974.
Jean Dubuffet: Persons and Places, Kroller Muller Museum, Amsterdam, April 1974.
Jean Dubuffet, Delaware Art Museum, Wilmington, March 14–April 20, 1974. (Catalogue)
Jean Dubuffet: Paintings, Drawings, Gouaches 1946–1966, Donald Morris Gallery, Detroit, March 1974. (Catalogue)
‘Coucou Bazar’ (Photographies du spectacle par Kurt Wyss), S.B.G. (Schweizerischen Bankgesellschaft Galerie), Basel, February 26–April 16, 1974.
1973
Jean Dubuffet, Galerie Wünsche, Hamburg, Germany, September 17–October 20, 1973.
Coucou Bazar, Bal de L’Hourloupe, Solomon R. Guggenheim Museum, New York, May 16–July 29, 1973. Traveled to: Galeries Nationales du Grand Palais, Paris, November 4–December 1, 1973. (Catalogue)
Jean Dubuffet: Studies for a Spectacle, The Pace Gallery, New York, May 5–June 27, 1973. (Catalogue)
Jean Dubuffet: L’Hourloupe, Artel Galerie, Geneva, May 3–July 28, 1973. (Catalogue)
Jean Dubuffet: Print Retrospective, Isselbacher Gallery, New York, April 28–May 31, 1973.
Jean Dubuffet: A Retrospective, Solomon R. Guggenheim Museum, New York, April 26–July 29, 1973. Traveled to: Galeries Nationales du Grand Palais, Paris, September 28–December 20, 1973. (Catalogue)
Jean Dubuffet: Monuments, Simulacres, Praticables, Walker Art Center, Minneapolis, February 4–March 18, 1973. (Catalogue)
1972
Jean Dubuffet: Persons and Places, The Museum of Modern Art, New York, November 9, 1972–February 28, 1973. Traveled to: Städtische Kunsthalle, Düsseldorf, June 13–July 14, 1974. (Brochure)
Jean Dubuffet: Vaches, Stephen Hahn Gallery, New York, October 24–November 11, 1972. (Brochure)
Jean Dubuffet, Galleria Levi, Milan, October–November 1972. (Catalogue)
Jean Dubuffet, Waddington Galleries, London, June 7–July 8, 1972. (Catalogue)
Jean Dubuffet: Le Jardin d’Hiver, Musée d’Art Moderne de la Ville de Paris, Paris, April 28–June 11, 1972. (Catalogue)
Jean Dubuffet, Dunkelman Gallery, Toronto, April 8–29, 1972. (Catalogue)
Jean Dubuffet: Praticables, The Pace Gallery, New York, March 25–April 29, 1972. (Brochure)
1971
Jean Dubuffet: Sculptures, decoupes, dessins de 1969–1971, Galerie Jeanne Bucher, Paris, October 13–November 13, 1971. (Catalogue)
Jean Dubuffet: Works on Paper, The Pace Gallery, New York, March 13–April 7, 1971. (Catalogue)
1970
Edifices and Monuments by Jean Dubuffet, Art Institute of Chicago, December 19, 1970–January 31, 1971. (Catalogue)
Jean Dubuffet: Paintings, Gouaches, Sculptures, Richard Feigen Gallery, Chicago, November 25, 1970–January 2, 1971. (Catalogue)
Jean Dubuffet, J.L. Hudson Gallery, Detroit, October 29–November 23, 1970. (Catalogue)
Jean Dubuffet, Andrew Dickson White Museum of Art, Cornell University, Ithaca, New York, September 8–October 18, 1970. (Catalogue)
Jean Dubuffet: Selected Works 1943–1967, Mayfair Gallery, London, September 7–October 3, 1970.
Jean Dubuffet: Zeichnungen, Aquarelle, Gouachen, Collagen, Öffentliche Kunstmuseum Basel, Switzerland, June 6–August 2, 1970. (Catalogue)
Jean Dubuffet: L’Hourloupe, Kunsthalle Basel, Switzerland, June 6–August 10, 1970. (Catalogue)
Jean Dubuffet: Le Cabinet Logologique, Centre National d’Art Contemporain, Paris, April 14–May 11, 1970. (Catalogue)
Jean Dubuffet, Théâtre de Poche, Neuchatel, Switzerland, April 4–May 3, 1970.
Jean Dubuffet, City Art Museum of St. Louis, Missouri, February 25–March 31, 1970.
1969
L’Homme du commun: travaux de Jean Dubuffet, Musée Des Beaux Arts, Montreal, December 19, 1969–January 31, 1970. (Catalogue)
Jean Dubuffet, Galerie Georges Moos, Geneva, November 27, 1969–January 20, 1970. (Catalogue)
Dubuffet and the Anticulture, Richard Feigen Gallery, New York, November 25, 1969–January 3, 1970. (Catalogue)
Jean Dubuffet: Simulacres, The Pace Gallery, New York, November 8, 1969–January 7, 1970. (Catalogue)
Jean Dubuffet, Museum of Modern Art, San Francisco, August 27–October 12, 1969.
Jean Dubuffet: Matériologies, Galerie Daniel Gervis, Paris, June 11–July 12, 1969.
1968
Jean Dubuffet: Peintures Monumentées, Galerie Jeanne Bucher, Paris, December 12, 1968–February 8, 1969. (Catalogue)
Jean Dubuffet: Edifices, Musée des Arts Décoratifs, Paris, December 11, 1968–February 10, 1969.
Jean Dubuffet, J.L. Hudson Gallery, Detroit, November 5–28, 1968 (Catalogue)
Jean Dubuffet: Aquarelle und Grafik, Galerie Obere Zäune, Zurich, November 2–December 7, 1968. (Catalogue)
Jean Dubuffet: Drawings, The Museum of Modern Art, New York, October 2–27, 1968. (Catalogue)
Jean Dubuffet: Painted Sculptures, The Pace Gallery, New York, April 13–May 18, 1968. (Catalogue)
Jean Dubuffet, The Makler Gallery, Philadelphia, April 1–30, 1968.
Jean Dubuffet: Ecrits et lithographies, Galerie La Pochade, Paris, February 29–March 1968.
Jean Dubuffet, Galerie Beyeler, Basel, February–April 8, 1968. (Catalogue)
1967
La Donation Jean Dubuffet, Musée des Arts Decoratifs, Paris, 1967. (Catalogue)
Jean Dubuffet: Paris Circus, Stephen Hahn Gallery, New York, November 14–December 16, 1967. (Catalogue)
Jean Dubuffet: L’Hourloupe, Galerie Burén, Stockholm, October 28–November 1967. (Catalogue)
Jean Dubuffet: Ustensiles, Demeures, Escaliers, Galerie Jeanne Bucher, Paris, June–July 1967. (Catalogue)
Jean Dubuffet: Sommeraustellung, Galerie Regio, Lörrach, Germany, Summer 1967.
Jean Dubuffet: Présentation du livre “Parade funèbre pour Charles Estienne”, Galerie-Librairie La Hune, Paris, May 5, 1967.
Jean Dubuffet: Dix ans d’art Vivant, 1955–1965, Fondation Maeght, Saint-Paul, France, May 3–July 23, 1967. (Catalogue)
Jean Dubuffet: Dessins, gouaches, lithographies de la collection personnelle de l’artiste, Musée Alexis Forel, Morges, France, March 18–April 16, 1967. (Catalogue)
Aspects de Jean Dubuffet, New Smith Gallery, Brussels, March 8–25, 1967. (Catalogue)
Jean Dubuffet: Paintings from 1944 to 1961, Stephen Hahn Gallery, New York, February 14–March 18, 1967. (Catalogue)
Jean Dubuffet: Målningar 1944–1959, Svenk-Franska Konstgalleriet, Stockholm, February 11–March 1967. (Catalogue)
1966
Jean Dubuffet: 1962–1966, Solomon R. Guggenheim Museum, New York, October 1966–February 1967. (Catalogue)
Jean Dubuffet, Museum of Contemporary Art, Nagaoka, Japan, September 11–October 10, 1966.
Jean Dubuffet: Drawings, City Art Gallery, Leeds, England, July 9–30, 1966.
Jean Dubuffet, Stedelijk Museum, Amsterdam, June 10–August 28, 1966. (Catalogue)
Jean Dubuffet: Paintings, Tate Gallery, London, April 23–May 30, 1966. (Catalogue)
Jean Dubuffet: Recent Paintings, Robert Fraser Gallery, London, April 20–28, 1966. (Catalogue)
Jean Dubuffet: Nunc Stans, Epokhê - Cycle de l’Hourloupe, Galerie Jeanne Bucher, Paris, April 7–May 1966. (Catalogue)
Jean Dubuffet: Drawings, Institute of Contemporary Arts, London, March 25–April 30, 1966. Traveled to: Scottish National Gallery of Modern Art, Edinburgh, May 14–June 4, 1966; Whitworth Art Gallery, University of Manchester, England, June 11–July 2, 1966. (Catalogue)
Jean Dubuffet: Retrospective, Museum of Fine Arts, Dallas, March 16–April 17, 1966. Traveled to: Walker Art Center, Minneapolis, May 22–June 16, 1966. (Catalogue)
Jean Dubuffet: Les Phénomènes, Kunstmuseum St. Gallen, Switzerland, February 12–April 3, 1966. (Catalogue)
Jean Dubuffet: Les Phénomènes, Staatliche Graphische Sammlung, Munich, February 4–March 1966. (Catalogue)
Jean Dubuffet: L’Hourloupe, Saidenberg Gallery, New York, January 4–February 5, 1966.
1965
Pittura e grafica di Jean Dubuffet, Galleria del Foscherari, Bolognia, November 13–December 3, 1965.
Bilder von 1944–1964 von Jean Dubuffet, Galerie Rudolf Zwirner, Cologne, opened October 8, 1965. (Catalogue)
Jean Dubuffet, Gimpel + Hanover Galerie, Zurich, August 27–September 29, 1965. (Catalogue)
Jean Dubuffet: Gouaches, Collages, Disegni, Lithografie, Galleria d’arte Cavour, Milan, June 8–23, 1965.
Jean Dubuffet: Dessins et gouaches, Fundacion Banco Popular de la Plata, La Plata, June–July 1965.
100 Obras de Jean Dubuffet, Centro de Artes Visuales, Instituto Torcuato Di Tella, Buenos Aires, May 1965. (Catalogue)
Jean Dubuffet, Galerie Beyeler, Basel, February–April 1965. (Catalogue)
Jean Dubuffet, Robert Elkon Gallery, New York, February 1965.
1964
Jean Dubuffet: L’Hourloupe, Galerie Claude Bernard, Paris, December 8, 1964–January 31, 1965. Concurrent with: Jeanne Bucher, Paris, December 8, 1964–January 31, 1965. (Catalogue)
Jean Dubuffet: Dessins et gouaches, Stedelijk Museum, Amsterdam, November 26, 1964–January 11, 1965. (Catalogue)
The Lithographs of Jean Dubuffet, Philadelphia Museum of Art, Pennsylvania, November 18, 1964–January 10, 1965. (Catalogue)
Jean Dubuffet: Lithographies par rapport d’assemblages et livres illustrés, Galerie-Librairie La Hune, Paris, November 18–December 8, 1964. (Catalogue)
Jean Dubuffet, Matériologies 1959–1960, Cordier and Ekstrom Gallery, New York, November 17–November 12, 1964.
Jean Dubuffet: Oils, Gouaches, Collages, Drawings, Graphics, Makler Gallery, Philadelphia, November 6–November 28, 1964.
Zimage de Jean Dubuffet, La Hune, Paris, November–December 1964. (Catalogue)
31 Color Breakdowns and Different States of Four Color Lithographs by Jean Dubuffet: Sourire I, Nez Carotte, L’homme au chapeau, Bon vent, Frank Perls Gallery, Beverly Hills, California, October 15–November 12, 1964.
Jean Dubuffet: La fleur de barbe, Galleria del Cavallino, Venice, September 29–October 21, 1964.
Les Phénomènes di Jean Dubuffet, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, Venice, July 5–September 1, 1964. (Catalogue)
Jean Dubuffet, Galerije Grada Zagreba, Zagreb, Croatia, July 3–19, 1964. (Catalogue)
Jean Dubuffet: Lithographies, Galerie Colibri, Puerto Rico, June 19–July 18, 1964.
Jean Dubuffet: L’Hourloupe, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, Venice, June 15–October 15, 1964. (Catalogue)
Jean Dubuffet, Paintings 1961, Robert Fraser Gallery, London, May 20–June 28, 1964. (Catalogue)
Jean Dubuffet: Oils, Gouaches, Collages, Drawings, World House Galleries, New York, March 17–April 11, 1964. (Catalogue)
Jean Dubuffet, Galleria del Naviglio, Milan, March 1964.
Jean Dubuffet: Oils, Gouaches, Collages, Drawings, Donald Morris Gallery, Detroit, January 19–February 8, 1964. (Catalogue)
1963
Jean Dubuffet: Lithographies, Galerie Melisa, Lausanne, October 1963.
Jean Dubuffet: Les Phénomènes, Kasseler Kunstverein E.V., Kassel, Germany, August 18–September 19, 1963.
Jean Dubuffet: Retrospective, Galleria Marlborough, Rome, March–April 1963. (Catalogue)
Jean Dubuffet, Musée des Beaux Arts de Nancy, France, January–February 1963.
1962
Jean Dubuffet: Paris Circus, Cordier & Ekstrom Gallery, New York, November 20–December 19, 1962. (Catalogue)
Jean Dubuffet: Lithographies, Galerie-Librairie Einaudi, Rome, November 6, 1962.
Jean Dubuffet: Paris Circus, Galerie Daniel Cordier, Paris, June 7–July 31, 1962. (Catalogue)
Jean Dubuffet, Galleria il Segno, Rome, May 28–June 28, 1962.
Jean Dubuffet: Recent Gouaches and Drawings, Robert Fraser Gallery, London, April 10–May 12, 1962. (Catalogue)
Jean Dubuffet Opera Grafica, Galleria del Cavallino, Venice, February 20–March 2, 1962. (Catalogue)
The Work of Jean Dubuffet, The Museum of Modern Art, New York, February 19–April 8, 1962. Traveled to: Art Institute of Chicago, May 11–June 17, 1962; Los Angeles County Museum of Art, July 10–August 12, 1962. (Catalogue)
1961
Jean Dubuffet: Grafik, Silkeborg Museum, Denmark, May 18, 1961–May 18, 1962. (Catalogue)
Jean Dubuffet, Matériologies, Galleria del Naviglio, Milan, May 10–23, 1961. (Catalogue)
Matériologies de Jean Dubuffet, Galerie Daniel Cordier, Frankfurt, Germany, March 3–April 15, 1961. (Catalogue)
1960
Jean Dubuffet, 1942–1960, Musée des Arts Décoratifs, Paris, December 16, 1960–February 25, 1961. (Catalogue)
Jean Dubuffet, Daniel Cordier and Michel Warren Gallery, New York, December 1960. (Catalogue)
Jean Dubuffet, Kestner-Gesellschaft, Hanover, Germany, October 26–December 4, 1960. Traveled to: Kunsthaus Zurich, Switzerland, December 17, 1960–January 15, 1961. (Catalogue)
Jean Dubuffet, World House Gallery, New York, October 25–November 26, 1960. (Catalogue)
Jean Dubuffet - lithographies, serie des phénomènes, Galerie Berggruen, Paris, October 21–November 12, 1960. (Catalogue)
Jean Dubuffet: Grafik, Stedelijk van Abbemuseum, Eindhoven, The Netherlands, September 24–October 30, 1960. Traveled to: Jean Dubuffet Grafik, Stedelijk Museum, Amsterdam, November 4–December 12, 1960. (Catalogue)
Jean Dubuffet, Eléments botaniques, Arthur Tooth & Sons Gallery, London, May 31–June 18, 1960. (Catalogue)
Jean Dubuffet, Galleria La Bussola, Turin, opened May 16, 1960. (Catalogue)
Jean Dubuffet, Paintings, Gouaches and Lithographs, Hanover Gallery, London, May 3–June 3, 1960. (Catalogue)
Jean Dubuffet - lithographies, serie des phénomènes, Galerie Berggruen, Paris, May–June 1960. (Catalogue)
Opere de Jean Dubuffet, Galleria Blu, Milan, May 1960.
Jean Dubuffet: As-tu cueilli la fleur de Barbe, Galerie Daniel Cordier, Paris, April 27–May 31, 1960. (Catalogue)
Jean Dubuffet, Galerie Pierre, Stockholm, April–May 1960. (Catalogue)
1959
Jean Dubuffet: L'Art Brut, Galerie Les Mages, Venice, 1959.
Jean Dubuffet, 1943–1959, Pierre Matisse Gallery, New York, November 10–December 12, 1959. (Catalogue)
Jean Dubuffet: Célébration du Sol, Galerie Daniel Cordier, Paris, April 28–June 7, 1959. (Catalogue)
1958
Jean Dubuffet: Lob der Erde, Galerie Daniel Cordier, Frankfurt, Germany, December 1958–January 1959. (Catalogue)
Jean Dubuffet, Galerie-Librairie La Hune, Paris, December 8, 1958.
Jean Dubuffet: Paintings 1943–1957, Arthur Tooth & Sons Gallery, London, April 29–May 23, 1958. (Catalogue)
Jean Dubuffet, Galleria d’Arte Selecta, Rome, March 31–April 22, 1958. (Catalogue)
Jean Dubuffet: Peintures d’assemblages, graffiti, sols, texturologies et autres œuvres récentes faites en 1956 et 1957, Pierre Matisse Gallery, New York, February 4–22, 1958. (Catalogue)
Jean Dubuffet, Galleria del Naviglio, Milan, January 25–February 14, 1958. (Catalogue)
1957
Jean Dubuffet, Museum Schloss Morsbroich, Leverkusen, Germany, August 23–October 13, 1957. (Catalogue)
Jean Dubuffet: Tableaux d’assemblages, Galerie Rive Droite, Paris, April 30–May 23, 1957. (Catalogue)
1956
Jean Dubuffet: Assemblages d’empreintes, Galerie Rive-Gauche, Paris, May 15–June 16, 1956. (Catalogue)
Jean Dubuffet, Frank Perls Gallery, Beverly Hills, April 24–May 26, 1956. (Catalogue)
Jean Dubuffet, Paintings: Assemblages d’empreintes, Pierre Matisse Gallery, New York, February 21–March 17, 1956. (Catalogue)
1955
Vingt tableaux peints récemment à Vence par Jean Dubuffet, Galerie les Mages, Vence, France, October 1–3, 1955.
Exhibitions of Paintings, Drawings, Sculptures by Jean Dubuffet, Institute of Contemporary Arts, London, March 29–April 30, 1955. (Catalogue)
1954
Jean Dubuffet: Recent Paintings, Collages & Drawings, Pierre Matisse Gallery, New York, November 9–27, 1954. (Catalogue)
Petites Statues de la Vie Précaire de Jean Dubuffet, Galerie Rive-Gauche, Paris, October 19–November 10, 1954. (Catalogue)
Exposition de peintures, dessins et divers travaux exécutés de 1942 a 1954 par Jean Dubuffet, Cercle Volney (Galerie René Drouin), Paris, March 17–April 17, 1954. (Catalogue)
Jean Dubuffet, Galerie Blanche, Stockholm, January–February 1954. (Catalogue)
1953
Lithographies, J. Dubuffet, La Hune, Paris, 1953 (Catalogue)
1952
Jean Dubuffet, Salle de la Société d’Horticulture de France, Paris, September 8–17, 1952.
Landscaped Tables, Landscapes of the Mind, Stones of Philosophy: Exhibition of Paintings Executed in 1950 and 1951 by Jean Dubuffet, Pierre Matisse Gallery, New York, February 12–March 1, 1952. (Catalogue)
1951
Jean Dubuffet, Arts Club of Chicago, December 18, 1951–January 23, 1952. (Catalogue)
Pour connaître mieux Jean Dubuffet, Galerie Rive-Gauche, Paris, March 1951.
Exhibition of Paintings by Jean Dubuffet, Pierre Matisse Gallery, New York, January 9–February 3, 1951. (Catalogue)
1950
Paintings by Jean Dubuffet, Pierre Matisse Gallery, New York, January 1950. (Catalogue)
1949
Jean Dubuffet, Galerie Geert van Bruaene, Brussels, December 1949. (Catalogue)
1948
Jean Dubuffet: Paintings, Gouaches 1946–1948, Pierre Matisse Gallery, New York, November 30–December 1948. (Catalogue)
1947
Exhibition of Lithographs by Jean Dubuffet, Pierre Matisse Gallery, New York, October 10–November 1, 1947. (Catalogue)
Portraits à ressemblance extraite, à ressemblance cuite et confite dans la mémoire, à ressemblance éclatée dans la mémoire de M. Jean Dubuffet, peintre, Galerie René Drouin, Paris, October 7–31, 1947. (Catalogue)
J. Dubuffet: Paintings, Pierre Matisse Gallery, New York, January 7–February 1, 1947. (Catalogue)
1946
Mirobolus, Macadam et Cie, Hautes Pâtes de Jean Dubuffet, Galerie René Drouin, Paris, May 3–June 1, 1946. (Catalogue)
1945
Jean Dubuffet, Galerie André, Paris, April 14–30, 1945. (Catalogue)
1944
Jean Dubuffet, Galerie René Drouin, Paris, October 20–November 18, 1944. (Catalogue)
2024
Revolutions: Art from the Hirshhorn Collection, 1860–1960, Hirshhorn Museum and Sculpture Garden, Washington D.C., March 22, 2024–April 20, 2025.
2023
Time. From Dürer to Bonvicini, Kunsthaus Zürich, Zurich, September 22, 2023–January 14, 2024. (Catalogue)
ARTZUID, Amsterdam Sculpture Biennial, Amsterdam, May 20–September 24, 2023.
2022
Dubuffet and Villegle Exhibition, Seoul Olympic Museum of Art, Seoul, South Korea, October 1, 2022–January 31, 2023.
Take Care: Kunst und Medizin, Kunsthaus Zurich, April 8–July 17, 2022. (Catalogue)
2021
Little Things: Parts I & II, Pace Gallery, Geneva, November 10, 2021–January 5, 2022.
Jours blancs, Galerie Kamel Mennour, Paris, October 18, 2021–February 9, 2022.
A room with a…, Pace Gallery, Palm Beach, Florida. June 4–September 10 (extended through October 3), 2021.
Works on Paper, The Elkon Gallery, New York, May 24–August 13, 2021.
2020
Degree Zero: Drawing at Midcentury, The Museum of Modern Art, New York, November 1, 2020–February 6, 2021.
On View in East Hampton, Pace Gallery, 68 Park Place, East Hampton, New York, July 22–29, 2020.
2019
ARTZUID 2019, Amsterdam, May 17–September 15, 2019. (Catalogue)
2018
Intimate Infinite: Imagine a Journey, Lévy Gorvy, New York, September 6–October 24, 2018. (Catalogue)
Jean Dubuffet and the City, Hauser & Wirth Gallery, Zurich, June 9–September 1, 2018.
A New Way of Walking, Timothy Taylor Gallery, London, June 7–August 24, 2018, and New York, June 29–July 27, 2018.
Freeform: Jean Dubuffet, Simon Hantaï and Charlotte Perriand, Timothy Taylor Gallery, London, February 2–March 29, 2018.
My Favorites: Toshio Hara Selects from the Permanent Collection, Hara Museum of Contemporary Art, January 6–June 3, 2018.
2017
MACBA Collection. Beneath the Surface, Barcelona Museum of Contemporary Art, October 11, 2017–November 2018.
Passion de l’art: Galerie Jeanne Bucher Jaeger Depuis 1925, Musée Granet, Aix-en-Provence, France, June 24–September 24, 2017.
hyberDubuffet, Galerie Nathalie Obadia, Cloître Saint-Merri and Bourg-Tibourg, Paris, May 18–July 13, 2017.
Victors for Art: Michigan’s Alumni Collectors at the University of Michigan Museum of Art, Part 1: Figuration, A. Alfred Taubman Gallery, the University of Michigan Museum of Art, February 19–June 11, 2017; Part 2: Abstraction, A. Alfred Taubman Gallery, the University of Michigan Museum of Art, July 1–October 29, 2017; Irving Stenn, Jr. Family Gallery, the University of Michigan Museum of Art, August 19–November 26, 2017. (Catalogue)
Jean Dubuffet & Larry Poons: Material Topographies, Loretta Howard Gallery, New York, January 12–February 18, 2017.
2016
Jean Dubuffet’s Art Brut: The Origins of the Collection, The Collection de l’Art Brut, Lausanne, Switzerland, March 5–August 28, 2016. (Catalogue)
Fétiche, Venus, New York, February 19–April 16, 2016.
2015
Crosscurrents: Modern Art from the Sam Rose and Julie Walters Collection, Smithsonian American Art Museum and the Renwick Gallery, Washington D.C., October 30, 2015–April 10, 2016. (Catalogue)
Keeping Pace: Eva Glimcher and Pace/Columbus, Columbus Museum of Art, Ohio, October 23, 2015–January 17, 2016.
Between Sky and Earth by Calder and Dubuffet, Opera Gallery, Geneva, September 24–October 10, 2015. (Catalogue)
Cavaliers Collect, Fralin Museum of Art, University of Virginia, Charlottesville, August 28–December 20, 2015.
From Above, Di Donna Galleries, New York, April 23–May 29, 2015.
Off Canvas Drawing, Acquavella Gallery, New York, April 15–June 12, 2015. (Catalogue)
Group Show, Waddington Custot Galleries, London, April 1–May 15, 2015.
Picasso and the 20th Century Art: Masterpieces from the Museum of Modern Art, Toyama, Tokyo Station Gallery, Tokyo, March 21–May 17, 2015. (Catalogue)
A Strong Sweet Smell of Incense, Pace London, 6 Burlington Gardens, February 6–March 28, 2015.
2014
Group exhibition, Galerie Jaeger Bucher, Paris, December 2014–January 2015.
Transfigurations: Modern Masters From the Wexner Family Collection, Wexner Center for the Arts, The Ohio State University, Columbus, September 21–December 31, 2014. (Catalogue)
A Brief History of Pace, Pace Menlo Park, California, September 18–December 13, 2014.
Jean Dubuffet; Jean Fautrier : Bilder aus einer Berliner Sammlung, Galerie Bastian Berlin, Berlin, September 16–November, 14. (Catalogue)
Thorn in the Flesh, George Economou Collection, Athens, Greece, September 11, 2014–May 2015.
Make it New: Abstract Painting from the National Gallery of Art, 1950–1975, The Clark Art Institute, Williamstown, August 2–October 13, 2014. (Catalogue)
Dubuffet | Barceló, Acquavella Galleries, New York, June 30–September 19, 2014.
Modernism from the National Gallery of Art: The Robert and Jane Meyerhoff Collection, de Young Museum, San Francisco, June 7–October 12, 2014. (Catalogue)
Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum, New Jersey, May 24–October 5, 2014. Travel to: The Cummer Museum of Art & Gardens, Jacksonville, Florida, January 31–April 26, 2015. (Catalogue)
2013
Angels, Demons, and Savages: Pollock, Ossorio and Dubuffet, 1948–1952, Parrish Art Museum, Southampton, New York, July 28–October 21, 2013.
Chaissac – Dubuffet, Between Pen and Brush (Entre plume et pinceau), L’Addresse Musée de La Poste, Paris, May 27–September 28, 2013. Traveled to: Musée de l’Abbaye Saint-Croix, Verdun, France, October 12, 2013–January 26, 2014. (Catalogue)
Kansai Collections, National Museum of Art, Osaka, April 6–July 15, 2013. (Catalogue)
On Abstraction, David Findlay Jr Gallery, New York, April 6–27, 2013.
Collection Renard, Fondation Beyeler, Riehen, March 9–May 5, 2013.
Winter Group Show, Pace Gallery, 32 East 57th Street, New York, January 7–26, 2013.
2012
Masterpieces from the Berardo Collection, Gary Nader Art Centre, Miami, December 5, 2012–March 30, 2013.
Retratos: Obras Maestras Centre Pompidou, Fundación MAPFRE, Madrid, September 26–January 6, 2013. (Catalogue)
Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960, Solomon R. Guggenheim Museum, New York, June 8–September 12, 2012. (Catalogue)
50th Anniversary Exhibition THANKS, Carl Solway Gallery, Cincinnati, May 11–August 11, 2012.
Masterworks from Degas to Rosenquist, Acquavella Galleries, New York, February 6–April 6, 2012. (Catalogue)
Dubuffet and the Art Brut, Ricco/Maresca, New York, January 5–February 18, 2012.
2011
Hunters and Gatherers: The Art of Assemblage, Sotheby’s, New York, November 18–December 16, 2011. (Catalogue)
Modern Masters: Paris and Beyond, Hammer Galleries, New York, October 29, 2011–January 21, 2012. (Catalogue; text by Edward Lucie-Smith)
Un corps inattendu: Carte blanche Jean-Louis Prat, Le FRAC Auvergne, Clermont-Ferrand, France, April 2–June 26, 2011.
Brassï & Dubuffet, Glerie Karsten Greve, Paris, April 2–May 21, 2011.
Unpainted Paintings, Luxembourg & Dayan, New York, March 3–May 27, 2011.
Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, The Morgan Library & Museum, New York, January 21–May 1, 2011. (Catalogue)
2010
The Maginot Line, David Castillo Gallery, Miami, December 1, 2010–January 1, 2011.
Best 100, The Tokushima Modern Art Museum, Japan, October 9–December 26, 2010. (Catalogue)
50 Years at Pace, The Pace Gallery, 32 East 57th Street, and 534 West 25th Street, New York, September 17–October 23, 2010. (Catalogue)
New Editions & Monoprints, Pace Prints, New York, July–August 2010.
The Human Image in the Twentieth Century: Works from the Collection of the Tokushima Modern Art Museum, Hekinan City Tatsukichi Fujii Museum of Contemporary Art, Japan, June 8–July 19, 2010. (Catalogue)
Chefs-d’œuvres?, Centre Pompidou-Metz, France, May 12, 2010–August 29 (extended through November 7), 2011. (Catalogue)
Le grand geste! Informel und Abstrakter Expressionismus 1946–1964, Museum Kunst Palast, Dusseldorf, April 10–August 1, 2010. (Catalogue; texts by Kay Heymer, Susanne Rennert and Beat Wismer)
Pastiche, The Pace Gallery, 545 West 22nd Street, New York, April 2–24, 2010.
Miró/ Dubuffet/ Basquiat, Nassau County Museum of Art, Roslyn Harbor, New York, March 13–May 23, 2010. (Catalogue)
2009
Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles, November 15, 2009–May 3, 2010.
Dubuffet and Miró: A Dialogue, Barbara Mathes Gallery, New York, October 29–December 19, 2009.
The Robert and Jane Meyerhoff Collection: Selected Works, National Gallery of Art, Washington, D.C., October 1, 2009–May 2, 2010. (Catalogue)
Art Brut, Pace Primitive, New York, September 22–October 31, 2009.
Passions Partagées: From Cézanne to Rothko, 20th Century Masterpieces in Private Swiss Collections, Fondation de l’Hermitage, Lausanne, Switzerland, June 26–October 25, 2009. (Catalogue)
A Walk in the Park: Outdoor Sculpture at PaceWildenstein, PaceWildenstein, 545 West 22nd Street, New York, June 19–July 24, 2009.
Modern Masters, E & R Cyzer, London, June 10–July 31, 2009.
In-Finitum, Palazzo Fortuny, Venice, June 6–November 15, 2009. (Catalogue)
Contemporary Art from the Barron Collection, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, April 4–July 5, 2009. (Catalogue)
Inspiration and Influence: Contemporary Masters and Their Predecessors, James Goodman Gallery, New York, February 25– March 31, 2009.
2008
Dialogues, Dactyl Foundation, New York, October 29–November 20, 2008.
The Human Image in the Twentieth Century: Works from the Collection of the Tokushima Modern Art Museum, Gunma Museum of Art, Tatebayashi, Japan, April 19–June 15, 2008. (Catalogue)
Works on Paper, Mitchell-Innes & Nash, New York, May 1–June 27, 2008.
2007
The 30th Anniversary: Selected Works from the Collection of the National Museum of Art, Osaka, National Museum of Art, Osaka, Japan, December 18, 2007–February 11, 2008. (Catalogue)
The Other Collection: Homage to Ernst and Hildy Beyeler, Beyeler Museum, Riehen/Basel, August 19, 2007–January 6, 2008. (Catalogue)
Artempo: Where Time Becomes Art, Palazzo Fortuny, Venice, Italy, June 9–October 7, 2007. (Catalogue)
Dado – Dubuffet: Le temps d’une rencontre, Le Musée de Sérignan, Sérignan, France, January 21–April 15, 2007.
2006
Between Picasso and Dubuffet, Works from the Planque Foundation, Palazzo Bricherasio, Turin, October 20, 2006–January 21, 2007. Traveled to: Museo de Bellas Artes, Bilbao, September–November 2007. (Catalogue)
Nothing and Everything, Peter Freeman, Inc., New York, September 7–October 28, 2006. Traveled to: Fraenkel Gallery, San Francisco, November 30, 2006–January 27, 2007. (Catalogue)
Le Noir est Une Couleur: Hommage Vivant à Aimé Maeght, Fondation Marguerite et Aimé Maeght, Saint-Paul, France, June 30–November 5, 2006. (Catalogue)
Dubuffet and Basquiat: Personal Histories, PaceWildenstein, 534 West 25th Street, New York, April 28–June 17, 2006. (Exhibition catalogue, essay by Rinder Lawrence)
2005
Informale, Jean Dubuffet e l’arte europea, 1945–1970, Foro Boario, Rome, December 18, 2005–April 9, 2006. (Catalogue)
Looking at Words, Andrea Rosen Gallery, New York, November 2, 2005–January 2006.
Les Chemins de l’Art Brut, Musee d’Art Moderne Lille Metropole, France, October 26, 2005–January 8, 2006. (Catalogue)
El Fuego bajo las Cenizas: De Picasso a Basquiat / Fire under the Ashes, Institut Valencià d’Art Modern, Spain, May 5–August 28, 2005. Traveled to: Musée Maillol, Fondation Dina Vierny, Paris, October 8, 2005–February 14, 2006. (Catalogue)
Works on paper, Adelson Galleries, New York, April 25–May 12, 2005
Sets, Series, and Suites: Contemporary Prints, Museum of Fine Arts, Boston, January 19-May 30, 2005 (catalogue)
2004
Fierce Beauty: Art from the Nigeria/Cameroon Border, Pace Primitive Art, New York, November 5–December 11, 2004.
2003
Monumental: Masterpieces of Modern Sculpture, Sotheby’s at Isleworth, Florida, December 2003–April 2004. (Catalogue)
Jean-Michel Basquiat – Gaston Chaissac – Jean Dubuffet – Joaquin Torres-Garcia, Jan Krugier Gallery, New York, November 6, 2003–January 6, 2004. Traveled to: Galerie Enrico Navarra, Paris, 2004. (Catalogue).
Four Sculptures, Park Avenue Malls between 54th and 57th Streets, New York, September 20–November 14, 2003. (Sponsored by the City of New York/Parks and Recreation Department).
20th Century Sculpture: An Exhibition, Acquavella Galleries, New York, April 4–May 22, 2003. (Catalogue)
2002
Claude Monet: jusqu’à l’impressionnisme numèrique, Fondation Beyeler, Basel, March 28–August 4, 2002. (Catalogue)
Pierre Matisse and His Artists, The Morgan Library, New York, February 14–May 19, 2002.
2001
Traces: Primitive and Modern Expressions, Jan Krugier Gallery, New York, November 9, 2001–January 19, 2002. (Catalgue)
Rebuts/Rébus, Château d’Arenthon, Fondation pour l’art contemporain Claudine et Jean-Marc Salomon, Alex, France, October 30, 2001–February 3, 2002.
Encuentros: Dialogos de Complicidad en la Pintura Internacional, Centro Cultural Las Claras, Murcia, Spain, May 24–July 1, 2001.
Livres en Jargon de Jean Dubuffet, Bibliotheque municipale A. Salacrou, Le Havre, France, May 9–July 13, 2001.
20th Century Perspectives, John Berggruen Gallery, San Francisco, March 29–April 21, 2001.
2000
High Lights, Galerie Beyeler, Basel, June 15–September 30, 2000.
Dialogues avec des Compagnons de route, Galerie Jeanne Bucher, May 30–July 8, 2000.
Art at Work: Forty Years of the Chase Manhattan Collection, Queens Museum of Art, Flushing Meadows, New York, May 23– October 1, 2000.
1999
Figurative Art from the Twentieth Century, C&M Arts, New York, October 5–December 4, 1999.
New York Collects: Drawings and Watercolors 1900–1950, Pierpont Morgan Library, New York, May 20–August 29, 1999.
Berardo Collection 1917–1999, Centro Cultural de Belém, Lisbon, Portugal, January 28–April 30, 1999. (Catalogue)
1998
Sculpture, Pace Wildenstein, Los Angeles, September 3–October 3, 1998.
The Desiring Eye, Moderna Museet, Stockholm, August 29–November 15, 1998.
Ideal and Reality: The Image of the Body in 20th Century Art. From Bonnard to Warhol. Works on Paper, Salzburger Landessammlungen für moderne und zeitgenössische Kunst Rupertinum, Austria, July 18–September 27, 1998.
Then and Now: Art Since 1945 at Yale, Yale University Art Gallery, New Haven, Connecticut, February 10–July 31, 1998.
1997
Winter Group Show, PaceWildenstein, New York, December 19, 1997–January 24, 1998.
Die Maler und ihre Skulpturen. Von Edgar Degas bis Gerhard Richter, Museum Folkwang, Essen, October 12 1997–January 4 1998. (Catalogue)
Dubuffet/Miró, Nevada Museum of Art, Reno, July 11–September 7, 1997.
1996
Brancusi to Beuys: Works from the TED Power Collection, Tate Gallery, New York, November 19, 1996–February 16, 1997. (Catalogue)
The Robert and Jane Meyerhoff Collection, National Gallery of Art, Washington, D.C., March 31–July 21, 1996.
Sans titre (á propos de l’inaugration de Chaufferie avec cheminée), Bibliothèque Nelson Mandela, Vitry-sur-Seine, France, March 28–April 7, 1996. (Catalogue)
Group exhibition, The Sculpture Garden at 590 Madison Avenue, New York, February–April 1996.
1995
Passions Privées: Collections particulières d’art moderne et contemporain en France, Musée d’art moderne, Paris, December 1995–March 1996.
The Mark Goodson Collection, PaceWildenstein, New York, October 27–November 25, 1995. (Catalogue)
Drawing the Line, Whitechapel Art Gallery, London, July 6–September 10, 1995.
1994
Sculpture: The Figure Transformed: Picasso, Gonzalez, Miro, Dubuffet, Bourgeois, Shapiro, Puryear, Barbara Mathes Gallery, New York, October 26–December 30, 1994.
A Century of Artists Books, the Museum of Modern Art, New York, October 23, 1994–January 24, 1995. (Catalogue)
Drawings 1894–1994, Galerie Marc Blondeau, Paris, May 21–July 9, 1994.
The Art of Assemblage: Early Works, Locks Gallery, Philadelphia, May 18–June 30, 1994.
20th Century Masters, Sidney Janis Gallery, New York, May 4–June 4, 1994.
Quelque chose de très mystérieux: Intuitions esthétiques de Michel Tapié, Artcurial, Paris, March 24–May 12, 1994.
Sculptors' Maquettes, The Pace Gallery, New York, January 14–February 12, 1994.
1993
Entre la sérénité et l'inquiétude, Musée d'Art Moderne, Saint-Etienne, France, November 19, 1993–January 30, 1994.
Sculptures (1832–1992), Galerie Marc Blondeau, Paris, October 8–December 18, 1993.
The Linear Image II: 20th Century Master Works on Paper, Marisa del Re Gallery, New York, October–November 1993.
Willem De Kooning / Jean Dubuffet: The Late Works, The Pace Gallery, 32 East 57th Street, New York, September 17–October 16, 1993. (Catalogue)
Works on Paper and Sculpture, Waddington Galleries, London, September 8–October 2, 1993.
Paris Post-War: Art and Existentialism 1945–1955, Tate Gallery, London, September 1993.
Parallel Visions: Modern Artists and Outsider Art, Los Angeles County Museum of Art, California. Traveled to: Kusthalle Basel, Switzerland, July 4–August 29, 1993.
Materia, Imagen y Concepto: Un Recorrido por el Arte Contemporáneo Internacional, Galería Namia Mondolfi, Caracas, Venezuela, June 1993.
1992
Not for Sale: Loans from the Private Collections of New York Art Dealers, Tel Aviv Museum of Art, October 22–December 27, 1992. (Catalogue)
Parallel Visions: Modern Artists and Outsider Art, Los Angeles County Museum of Art, October 18, 1992–January 3, 1993.
'Les Tutoyeurs de l'arc-en-ciel', Galerie Gerald Piltzer, Paris, October 1–November 2, 1992.
Le Portrait dans L'Art Contemporain, Musée d'Art Moderne et d'Art Contemporain, Nice, July 3–September 27, 1992.
À visage découvert, Fondation Cartier, Jouy-en Josas, France, June 18–October 4, 1992.
Transform: BildObjektSculptur im 20. Jahrhundert, Kunstmuseum and Kunsthalle, Basel, June 14–September 27, 1992.
Homage to Francis Bacon, Beyeler Gallery, Basel, Summer 1992.
Sculpture, Waddington Galleries, London, April 29–May 30, 1992.
1991
Portraits on Paper, Robert Miller Gallery, New York, June 25–August 2, 1991.
An Exhibition of XIX and XX Century Paintings, The Lefevre Gallery, London, June 17–July 19, 1991.
Affinities, Crane Gallery, London, June 13–July 31, 1991.
Papiers de Peintres/Papiers de Sculpteurs, Artcurial, Paris, March 21–May 4, 1991.
20th Century Collage, Margo Leavin Gallery, Los Angeles, January 12–February 16, 1991.
Who Framed Modern Art or The Quantitative Life of Roger Rabbit, Sidney Janis Gallery, New York, January 10–February 9, 1991.
1990
Twentieth-Century Modern Masters, Royal Academy of Arts, London, 1990.
De Kooning/Dubuffet, The Women, The Pace Gallery, New York, November 30, 1990–January 15, 1991. (Catalogue; text by Mildred Glimcher)
La Femme: XIX & XX Century Master Works on Paper, The Elkon Gallery, New York, October 16–December 15, 1990.
High and Low: Modern Art and Popular Culture, The Museum of Modern Art, New York, October 7, 1990–January 15, 1991. Traveled to: Art Institute of Chicago, February 20–May 12; Museum of Contemporary Art, Los Angeles, June 21–September 15, 1991.)
Alexander Calder & Jean Dubuffet, Art 6’90 (Basel Fair), Galerie Beyeler, Basel, June 13–18, 1990.
Portrait of an American Gallery: The Pace Gallery, Galerie Isy Brachot, Brussels, April 19–June 23, 1990. (Catalogue; text by Arnold Glimcher)
Master Drawings: 1520–1990, Janie C. Lee Master Drawings, New York, April 13–May 11, 1990. (Curated by Janie C. Lee and Kate Ganz)
The 20th Anniversary: Fuji Television Gallery 1990, Fuji Television Gallery, Tokyo, April 2–26, 1990. (Catalogue)
Octavio Paz: Los privilegios de la vista, Centro Cultural Arte Contemporaneo, Mexico City, March–June 1990.
1989
Recent Acquisitions, Daniel Varenne Galerie, Geneva, 1989.
Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection, The Metropolitan Museum of Art, New York, December 12, 1989–April 1, 1990. (Catalogue)
L’œuvre ultime de Cézane à Dubuffet, Fondation Maeght, Saint-Paul, France, July 4–October 4, 1989.
From Picasso to Abstraction, Annely Juda Fine Art, London, June 29–September 23, 1989. (Catalogue)
Faces and Figures, Thomas Ammann fine Art, Zurich, June–September 1989. (Catalgoue)
5th Anniversary, Denise Cade Art Prospect, New York, March 31, 1989.
Works from Stock, Fabian Carlsson Gallery, London, January 4–28, 1989.
1988
New Acquisitions, M. Knoedler & Co., New York, December 10, 1988–January 12, 1989.
Les Années 50, Centre Georges Pompidou, Paris, June 30–October 5, 1988.
Sculpture, The Pace Gallery, New York, Summer 1988.
Aspects of Collage: Assemblage and the Found Object in Twentieth-Century Art, Solomon R. Guggenheim Museum, New York, March 29–May 22, 1988.
1987
A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, Dallas Museum of Art, April 5–May 31, 1979. Traveled to: National Gallery of Art, Washington, D.C., June 28, 1987–February 15, 1988; Centro de Arte Reina Sofia, Madrid, April 6–June 5, 1991; Forte di Belvedere, Florence, July 8–November 1, 1991; Tel Aviv Museum of Art, January 1–April 26, 1992. (Catalogue)
1986
Contemporary Work from The Pace Gallery, University of Alabama, Moody Gallery of Art, Tuscaloosa, October 5–November 7, 1986.
Little and Large, Waddington Galleries, London, September 3–27, 1986. (Catalogue)
Picasso-Dubuffet, Centre d’Art Contemporain, Mont-de-Marsan, France, July 11–September 15, 1986. (Catalogue)
1985
Figurative Art in Paris, the 1950’s, Denise Cader Gallery, New York, October 29–December 14, 1985.
Art brut, Art Maigre, Théâtre municipal, Avranches, October 1985. Traveled to: Bibliothèque municipale, Hérouville-Saint-Clair, December 1985. (Catalogue)
Collection d’Art moderne de la Fondation Maeght, Palais des Papes, Avignon, June 7–July 31, 1985. (Catalogue)
Black and White, Galerie Beyeler, Basel, April–May 1985. (Catalogue)
A propos de dessin, Galerie Adrien Maeght, Paris, January 1985.
1984
La Grand Parade: Hoogtepunten van de schilderkunst na 1940/Highlights in Painting after 1940, Stedelijk Museum, Amsterdam, December 15, 1984–April 15, 1985. Traveled to: Solomon R. Guggenheim Museum, New York, June 27–September 8, 1985.
De la peinture et de l’écrit, Jean Paulhan au Bateau-Lavoir, Paris, December 11, 1984–February 4, 1985.
Un aspect de l’art informel: Dubuffet, Fautrier, Wols, Galerie Nathalie Seroussi, Paris, November 8, 1984–January 12, 1985.
Déjà jadis: autour de Georges Ribemont Dessaignes, Centre National d’Art Contemporain del la Villa Arson, Nice, France, October 12, 1984–January 6, 1985.
Autour de Michel Ragon, Musée des Beaux-Arts de Nantes, France, June 15–September 15, 1984. Traveled to: Art Center, Paris, September 25–November 15, 1984. (Catalogue)
Estampes choisies des années 50, Artcurial, Paris, June 5–July 15, 1984.
Sculpture du XXe Siècle, le part Brüglinger, Basel, June 3–September 30, 1984.
Nudes Nus Nackte, Galerie Beyeler, Basel, June–August 1984. (Catalogue)
Légendes, Musée d’Art Contemporain Entrepôt Lainé, Bordeaux, May 19–September 9, 1984. (Catalogue)
Marcel Moreau, amis, demons et rythmes, Ateliers du Grand Homu, Belgium, May 3–31, 1984. Traveled to: La Communauté française de Belgique Le Botanique, Brussels, September 20–October 7, 1984.
La Rime et la Raison, les Collections Mènil (Houston-New York), Galeries nationales du Grand Palais, Paris, April 17–July 30, 1984. (Catalogue)
Modern Sculpture from the Guggenheim, Allentown Art Museum, Pennsylvania, April 15, 1984–January 27, 1985. (Catalogue)
Ecritures dans la peinture, Centre National d’Art Contemporain de la Villa Arson, Nice, France, April 6–June 1984. (Catalogue)
Drawing 1974–1984, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., March 14–May 13, 1984. (Catalogue)
Images et Imaginaires d’Architecture, Centre Georges Pompidou, Paris, March 6–May 28, 1984.
1983
Robert Elkon – Memorial Exhibition, Robert Elkon Gallery, New York, October 15–November 23, 1983. (Catalogue)
Expressive Malerei nach Picasso, Galerie Beyeler, Basel, October–December 1983. (Catalogue)
Modern Art in the West Guggenheim, Tokyo Metropolitan Teien Art Museum, October 1–December 25, 1983. (Catalogue)
Paris 1950, Galerie Klewan, Munich, July 8–September 30, 1983. (Catalogue)
Acquisition priorities: Aspects of Post-War Painting in Europe, Solomon R. Guggenheim Museum, New York, April 1983. (Catalogue)
A même la Pierre, Galerie du 7, Paris, March 15–April 16, 1983.
1982
Psycho-sites, Galerie Jeanne Bucher, Paris, November 9–December 20, 1982. (Catalogue)
Von Monet bis Poliakoff, Galerie Thomas, Munich, November 1982. (Catalogue)
In Our Time: Houston’s Contemporary Arts Museum 1948–1982, Contemporary Arts Museum, Houston, October 23, 1982–January 2, 1983. (Catalogue; texts by Cheryl A. Brutvan, Linda L. Cathcart, and Marti Mayo)
Dessins de mine et de plume d’une trentaine d’artistes, Galerie Alphonse Chave, Venice, June 10–July 2, 1982.
Die Handzeichnung der Gegenwart II, Graphische Sammlung Staats, Stuttgart, Germany, May 15–July 25, 1982.
Les outils de la creation, cent trente artistes lithographes, Fondation Nationale des Arts Graphiques et Plastiques, paris, May 11–June 19, 1982.
’60 ’80 attitudes/concepts/images, Stedelijk Museum, Amsterdam, April 8–July 11, 1982. (Catalogue)
The Pace Gallery at Asher/Faure, Asher/Faure Gallery, Los Angeles, March 13–April 10, 1982.
Aftermath: New Images of Man, France 1945–1954, Barbican Art Center, London, March–June 1982.
A Private Vision: Contemporary Art from the Graham Gund Collection, Museum of Fine Arts, Boston, February 1982. (Catalogue)
Portraits et figures, Galerie Beyeler, Basel, February–April 1982. (Catalogue)
Group V, Waddington Galleries, London, January 7–30, 1982. (Catalogue)
1981
Acquavella Galleries (Catalogue)
Soundings, Neuberger Museum, Germany, New York, September 20–December 23, 1981. (Catalogue)
Collection d’art moderne du Musée de Saint-Etienne, Maison de la Culture de Saint-Etienne, France, June 1981.
Westkunst, Musée de la Ville de Cologne, Germany, May 30–August 16, 1981.
Paris-Paris, Centre Georges Pompidou, Paris, May 28–November 2, 1981.
1980
Faszination des objects, Museum des XX Jahrhunderts, Vienna, Winter 1980.
The Painterly Print, Monotypes from the Seventeenth to the Twentieth Century, Metropolitan Museum of Art, new York, October 16–December 7, 1980. (Catalogue). Traveled to: Museum of Fine Arts Boston, Massachusetts, January–March 1981.
The Morton G. Neumann Family Collection, National Gallery of Art, Washington, D.C., August 31–December 31, 1980. (Catalogue)
Donation Charles et Pierrette Sorlier – la lithographie au XXe Siècle, Musée de l’Abbaye Sainte-Croix, Les Sables d’Olonne, July 5–September 30, 1980. (Catalogue)
Autour d’une collection 1945–1980. Donation Geneviève Bonnefoi et les amis de Beaulieu, l’Abbaye de Beaulieu, June 21–September 13, 1980. (Catalogue)
Skulptur im 20, Jahrhundert, Basel, May 10–September 14, 1980. (Catalogue)
Keuze uit 10 jaar grafick, Galerie Collection d’Art, Amsterdam, April 1980. (Catalogue)
Seven Decades of Twentieth Century Art from the Sidney and Harriet Janis Collection of The Museum of Modern Art and the Sidney Janis Gallery Collection, La Jolla Museum of Contemporary Art, California, March 29–May 11, 1980. Traveled to: Santa Barbara Museum of Art, California, June 6–August 10, 1980. (Catalogue)
Lettres et chiffres, Galerie Beyeler, Basel, March–May 1980. (Catalogue)
L’Amérique aux Indépendants, Grand-Palais, Paris, March–April 13, 1980. (Catalogue)
Hommage à James Thrall Soby, Galerie Marie-Louise Jeanneret, Geneva, February–March 15, 1980. (Catalogue)
1979
Soft Art, Kunsthaus, Zurich, November 16, 1979–February 4, 1980. (Catalogue)
XIX & XX Century Master Paintings, Acquavella Gallery, New York, November 1–30, 1979. (Catalogue)
Genesis of Gallery, Part 2 From the Collection of the Australian National Gallery, Sydney, November 1–15, 1979.
Maestro del Siglo XX, Fundación Juan March, Madrid, April–May 1979.
Cinquante dessins et aquarelles de Degas à Mathieu, Galerie Arts Contemporains, Paris, April–May 1979.
1978
The Dmith, Hinchman & Grylls Collection, Cranbrook Academy of Art Museum, Bloomfield Hills, Michigan, November 14–December 10, 1978.
The Silent Dialogue: The Still Life in the 20th Century, Galerie Beyeler, Basel, October 1978–February 1979.
Artists and Writers, The Museum of Modern Art, New York, July 10–September 24, 1978.
1977
Sculture nella città, Lugano, Switzerland, July 15–September 18, 1977.
Ambiente/Arte, La Biennale di Venezia, Padiglione centrale ai giardini di Castello, Venice, July 14–October 10, 1976 (Catalogue)
Group Show, The Pace Gallery, New York, June 13–July 31, 1977.
Contemporary Drawing, Western Australian Art Gallery, Perth, May 5–31, 1977.
1975
A Selection of 20th Century Art’75 Minami, Galerie Minami, Tokyo, 1975. (Catalogue)
San Lazzaro et ses amis, Musée d’Art Moderne de la Ville de Paris, France, November 19, 1975–January 11, 1976.
European Painting in the Seventies, New Work by Sixteen Artists, Los Angeles County Museum of Art, California, September 30–November 23, 1975. (Catalogue)
Exposition pour le 25e anniversaire de mes activités de marchand de tableaux, Galerie Mony Calatchi, Paris, April 10–May 10, 1975. (Catalogue)
1974
Works on paper, Waddington Galleries, London, October 1–26, 1974. (Catalogue)
The Winston Malbin Collection, Detroit Institute of Arts, Michigan, September 25–November 17, 1974. (Catalogue)
Matière et mémoire, Centre d’Art Contemporain de l’abbaye de Beaulieu, June 23–September 8, 1974. (Catalogue)
La peinture et son double, Galerie Le Bateau Lavoir, Paris, February 22–April 1974. (Catalogue)
Jean Paulhan à travers ses peintres, Galeries Nationales du Grand Palais, Paris, February 1–April 15, 1974. (Catalogue)
1973
Primal Images, De Cordova Museum, Lincoln, Massachusetts, December 16, 1973–February 3, 1974. (Catalogue)
French Masters, Sidney Janis Gallery, New York, December 5–31, 1973. (Brochure)
Twentieth Century Masters, Robert Elkon Gallery, New York, October 13–November 18, 1973. (Catalogue)
From Picasso to Dubuffet; from Brancusi to Giacometti, Sidney Janis Gallery, New York, October 2–November 3, 1973. (Catalogue)
Masters of 20th Century Sculpture, Pucker-Safrai Gallery, Boston, October, 1973.
Giacometti, Dubuffet, de Kooning, Bacon: Cuatro Maestros Contemporáneos, Museo de Arte Moderno, Bogotá, Columbia, May 1973. (Catalogue)
Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art, Museum of Art, Rhode Island School of Design, Providence, April 5–May 6, 1973. (Catalogue)
1972
20th Century European Art, Sidney Janis Gallery, New York, December 6, 1972–January 6, 1973.
Group Show, Museo de Arte Moderno, Bogotá, Colombia, December 1972.
Group Show, Sala Mendoza, Caracas, Venezuela, November 1972.
Modern Masters from Chicago Collections, Museum of Contemporary Art, Chicago, September 8–October 22, 1972. (Catalogue)
From Venus to Venus, Galerie Beyeler, Basel, September–October 1972. (Catalogue)
Summer Exhibition 1972, Redfern Gallery, London, Summer 1972. (Catalogue)
Masters of the 19th and 20th Centuries, Marlborough Gallery, London, Summer 1972. (Catalogue)
A Journey into the Universe of Art, Galerie Fischer Fine Art Limited, London, June–July 1972. (Catalogue)
Estampes, Galerie Georges Moos, Geneva, June 6–July 31, 1972. (Catalogue)
Terza Biennale internationzale della Grafica d’arte, Palazzo Strozzi, Florence, May 13–June 30, 1972.
Mémories de la matière, Galerie Fabien Boulakia, Paris, May 12–June 1972. (Catalogue; text by J.-J. Lévêque)
Compariaisons, Galerie Bonnier, Geneva, May–July 1972. (Catalogue)
Paintings and Sculptures, Pierre Matisse Gallery, New York, May 1972.
Immagine per la Citta’, Palazzo dell’Accademia, Palazzo Reale, Genova, Italy, April 8–June 11, 1972. (Catalogue)
Giacometti, Dubuffet, de Kooning, Bacon, Museuo de Bellas Artes, Caracas, Venezuela, April 1973. Traveled to: Museo de Arte Moderno, Bogota, Colombia, May 1973; Museuo de Arte Moderno, Mexico, July–August 1973; Museu de Arte, São Paulo, September 13–October 7, 1973, Museu de Arte Moderna, Rio de Janeiro, October 15–November 4, 1973. (Catalogue)
Highlights, Galerie Beyeler, Basel, March–April 15, 1972. (Catalogue)
De Bonnard à nos jors, Musée Ingres, Montauban, France, March 1972.
Grafica Internazionale, Galerie Rive Gauche, Rome, February 17–March 18, 1972.
Galerie Alfred Schmela, Düsseldorf, February 10–April 30, 1972. (Catalogue)
Bestiary, Cordier and Ekstrom Gallery, New York, January–February 12, 1972. (Catalogue)
1971
Galerie Wihelm Grosshenning, Düsseldorf, December 1971–February 15, 1972.
Beyeler At Pace, The Pace Gallery, New York, November 6–December 31, 1971.
Stedelijk ‘60–’70, Palais des Beaux-Arts, Brussels, October 20–November 22, 1971. (Catalogue)
Twentieth Century Masters, Robert Elkon Gallery, New York, October 2–November 4, 1971.
Rosc ’71, Royal Dublin Society, Ireland, October 1971.
Aspects de l’art graphique européen 1971, Venice Biennale, Italy, September–October 1971.
Grafik der Welt, Kunsthalle de Nürnberg, August 28–November 28, 1971.
Figuration, Défiguration, Château de St Suzanna, Mayenne, France, June 19–September 8, 1971. Traveled to: la Maison de la Culture de Châlon-sur-Saône, France, November 15–December 15, 1971.
Collection de Monsieur et Madame B…, Centre National d’Art Contemporain, Grenoble, France, June 16–September 5, 1971.
Polychromies à travers les ages, Musée Bourdelle, Paris, June 3–September 1971.
Art Gallery of Ontario, Toronto, May 21–June 27, 1971. Traveled to: National Gallery of Canada, Ottawa, August 2–31, 1971.
Métaorphose de l’object, Palais des Beaux-Arts, Brussels, April 22–June 6, 1971. Traveled as Metamorfosi dell’oggetto, Palazzo Reale de Milan, January 21–February 23, 1972. (Catalogue)
Regards, Galerie Messine, Paris, February 25–April 3, 1971.
La figure dans la peinture d’aujourd’hui, Mairie de Vitry-sur-Seine, France, February 13–March 14, 1971.
La peinture contemporaine dans les collections vaudoises, Musée des Arts décoratifs de Lausanne, Switzerland, January 16–February 7, 1971.
1970
1970 Pittsburgh International, Carnegie Museum of Art, Pittsburg, Pennsylvania, October 30, 1970–January 10, 1971.
Twentieth Century Masters, Robert Elkon Gallery, New York, October 3–November 5, 1970.
Collection Marie Cuttoli– Henri Laugier, Galerie Beyeler, Basel, October–November 1970.
Internationale der Zeichnung, organized by the village of Darmstadt, Germany, August 15–November 11, 1970.
Pen, Pencil and Paper, Hanover Gallery, London, July 1970.
Un art subjectif ou la face cache du monde 1944–1970, l’Abbaye de Beaulieu, Ginals, France, June 22–end of September, 1970.
Jeunesse et présence, Galerie Alice Pauli, Lausanne, Switzerland, June 18–September, 1970.
Neuerwerbungen, Galerie Thomas Borgmann, Cologne, May 8–June 10, 1970.
Phyllis Kind Gallery, Chicago, April 15–May 15, 1970
De Bonnard a nos jours, Musée Goya, Castres, France, April–May 1970.
Images et signes de l’homme, Musées royaux des Beaux-Arts de Brussels, January 30–April 19, 1970.
Moon and Space, Galerie Beyeler, Basel, January–February 1970.
1969
Nineteenth and Twentieth Century Master Drawings 2, Paul Bianchini Gallery, New York, 1969–1970.
2e Foire d’Art actuel, Galerie Stéphane Janssen, Brussels, October 2–13, 1969.
New Acquisitions, Robert Elkon Gallery, New York, September 27–October 29, 1969.
Contemporary Art-Dialogue between the East and West, National Museum of Modern Art, Tokyo, June 12–August 17, 1969.
L’œil écoute, Palais des Papes, Avignon, June–September 1969.
Eröffnungsausstellung, Galerie Thomas Borgmann, Cologne, May 1969
Sammlung Sprengel II, 1965–69, Kestner Museum, Hannover, April 17–May 26, 1969.
Pierre Matisse Gallery, New York, December 21, 1969–February 28, 1970.
Opere su carta, Galleria La Medusa, Rome, December 20, 1969–end of January 1970.
1968
Painting and Sculpture by Giacometti and Dubuffet, Sydney Janis Gallery, New York, November 6–30, 1968. (Catalogue)
Robert Elkon Gallery, New York, September 28–October 24, 1968.
Menschenbilder, Kunsthalle, Darmstadt, Germany, September 14–November 17, 1968.
Neue Formen Expressionistischer Malerei seit 1950, Kunstmuseum, Lucerne, Switzerland, July 28–September 22, 1968.
Paintings from the Albright-Knox Art Gallery, National Gallery of Art, Washington, D.C. May 19–July 21, 1968. (Catalogue)
The Obsessive Image 1960–1968, Institute of Contemporary Art, London, April 10–May 29, 1968.
Painting in France 1900–1967, National Gallery of Art, Washington, D.C., February 18–March 17, 1968. Traveled to: Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago, Illinois; M.H. de Young Memorial Museum, San Francisco.
École de Paris, Galeri Rive Gauche, Rome, January 1968.
1967
Galerie Creuzvault, Paris, December 8, 1967–January 31, 1968.
Rosc 67, Royal Dublin Society, Ireland, November 11–December 30, 1967.
Grand Magasin Seibu, Tokyo, Fall 1967.
Robert Elkon Gallery, New York, September 26–October 1967.
Campo vitale, Centro Internazionale dell Arti e del Constume, Venice, Italy, July 27–October 8, 1967.
Têtes, Galerie Benador, Geneva, July 1967.
Sculpture 1947–1967, Musée de Peinture et de Scupture de Grenoble, France, June–August 1967.
Dix ans d’art vivant 1955–1965, Fondation Maeght, Saint-Paul-de-Vence, France, May 3–July 23, 1967.
Jean Paulhan et ses environs, Galerie Krugier et Cie, Geneva, May 1967.
22e Salon des Réalités Nouvelles, Musée municipal d’Art Moderne, Paris, April 1–23, 1967.
1966
Peintures, gravures, dessins, Galerie La Fenêtre ardente, Haute-Garonne, France.
Gouaches, aquarelles, dessins, Robert Elkon Gallery, New York, December 17, 1966–January 13, 1967.
Labryinthe, Akademie der Künste, Berlin, October 2–November 1966. (Catalogue)
Robert Elkon Gallery, New York, September 27–October 21, 1966. (Catalogue)
Vingt peintres, Galerie Paul Facchetti, Paris, July–September 1966.
La Figura, 55 presenze dell’arte contemporanea, Galleria Narcisco, Turin, May 14–June 16, 1966. (Catalogue)
Dix ans d’art vivant 1945–1955, Fondation M. et A. Maeght, Saint-Paul-de-Vence, France, April 9–May 31, 1966.
Personnages venus d’ailleurs, Galerie Rive Gauche, Paris, February 26–March 1966.
European Drawings, Solomon R. Guggenheim Museum, New York, February–April 1966.
1965
Les peintres et la nature en France depuis l’Impressionnisme, Musée d’Art et d’Histoire de la ville de Saint-Denis, France, November 6–28, 1965.
Panathénées de la sculpture mondiale, Athens, September 8–November 8, 1965.
Peinture contemporaine en France, Finland, September–December 1965.
Highlights of the 1964–1965 Art Season, Larry Aldrich Museum, Ridgefield, Connecticut, July 11–September 19, 1965. (Catalogue)
Sous le signe de Puasias, Galerie du XXe Siècle, Paris, June 18–July 18, 1965.
Kunst in Freiheit. Dubuffet, Moore, Tobey, Museum des 20 Jahrhunderts, Vienna, May 29–June 27, 1965. (Catalogue)
Dubuffet, Matta, Michaux, Réquichot, Robert Fraser Gallery, London, May 10–May 29, 1965.
Art of the 50’s and 60’s, April 25–July 5, 1965, Larry Aldrich Museum, Ridgefield, Connecticut.
1964
Guggenheim International Award 1964, Solomon R. Guggenheim Museum, New York.
Eröffnungsausstellung, Galerie Rudolf Zwirner, Cologne, December 5, 1964–January 31, 1965.
Three Generations, Sidney Janis Gallery, New York, November 24–December 26, 1964.
The 1964 Pittsburgh International, Carnegie Institute, Pittsburg, Pennsylvania, October 30, 1964–January 10, 1965.
Arts d’Extrême-Occident, Musée der Verviers, October 3–12, 1964.
“old hundred” Selections from The Larry Aldrich Contemporary Collection, 1951–1964, The Larry Aldrich Museum, Ridgefield, Connecticut, October 1964. (Catalogue)
I. Internationale der Zeichnung, Darmstadt, Mathildenhöhe, September 12–November 15, 1964.
Dokumenta III, Kassel, June 27–October 5, 1964.
Cinquante ans de Collages, Musée d’Art et d’Industrie, Saint-Etienne, June 23–September 1964. Traveled to: Musée des Arts Décoratifs, Paris, November 6–December 14, 1964.
Bilanz, Internationale Malerei seit 1950, Kunsthalle à Basel, June 20–August 23, 1964.
8 ans d’agitation, Galerie Daniel Cordier, Paris, June 10–July 4, 1964.
Vystavni sin Hollar, Prague, May 8–31, 1964.
Painting and Sculpture of a Decade 54–64, Tate Gallery (Goulbenkian Foundation), London, April 22–June 28, 1964. (Catalogue)
The Maremont Collection, Washington Gallery of Modern Art, Washington, D.C., April 1–May 3, 1964.
125 Frühjahrsausstellung, Kunstverein, Hanover, March 22–April 1964.
Galleria Schwarz, Milan, March 3–13, 1964.
Study for an Exhibition of Violence in Contemporary Art, Institute of Contemporary Arts, London, February 20–March 26, 1964.
Illustrationen, Staatliche Kunsthalle, Baden-Baden, February 1964.
1963
20th Century Master Drawings, Solomon R. Guggenheim Museum, November 6, 1963–January 5, 1964. Traveled to: University Gallery, Minneapolis, Minnesota, February 3–March 15, 1964; Fogg Art Museum, Cambridge, Massachusetts, April 6–May 24, 1964.
Visione colore, Palazzo Grassi, Venice, Italy, July 6–October 6, 1963.
Obsession and Fantasy, Galerie R. Fraser, London, June 12–July 12, 1963.
La nuova figurazione, La Strozzina, Florence, June 11–July 6, 1963.
Opere scelte, Galerie Notizie, Turin, April 5–30, 1963.
1962
Eröffnungsausstellung, Galerie Gimpel et Hanover, Zurich, Switzerland, November 16, 1962–January 5, 1963.
60 ans de peinture française, Musée de l’Athénée, Geneva, July 13–September 18, 1962.
Art Since 1950, World’s Fair 1962, Seattle, April 21–October 21, 1962. (Catalogue)
Tendenze contemporanee (1957–1961), Medusa, Rome, February 1962. (Catalogue)
1961
Paris carrefour de la peinture, 1945–1961, Stedelijk van Abbemuseum, Eindhoven, December 9, 1961–February 12, 1962.
Une nouvelle figuration, Galerie Mathias Fels, Paris, November 8–December 8, 1961. (Catalogue)
Sidney Janis Gallery, New York, October 30–December 2, 1961. (Catalogue)
International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburg, Pennsylvania, October 27, 1961–January 7, 1962.
Robert Elkon Gallery, New York, October 18–November 4, 1961. (Catalogue)
The Art of Assemblage, The Museum of Modern Art, New York, October 2–November 12, 1961. Traveled to: Dallas Museum of Contemporary Art, Texas, January 9–February 11, 1962; San Francisco Museum of Art, California, March 5–April 15, 1962. (Catalogue)
Arte e contemplazione, Centro internazionale delle Arti e del Costume, Palazzo Grassi, Venice, Italy, July–October 1961. (Catalogue)
Some Aspects of 20th C
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"literary criticismMAJOR WORKS:Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve",
"1953)Hier regnant desert (In Yesterday's Desert Realm",
"1958)Anti-Platon (Against Plato",
"1962)Pierre écrite (Words in Stone",
"1965)Dans le leurre du seuil (Lure of the Threshold",
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Yves BonnefoyBORN: 1923, Tours, FranceNATIONALITY: FrenchGENRE: Poetry, translation, literary criticismMAJOR WORKS:Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)Hier regnant desert (In Yesterday's Desert Realm, 1958)Anti-Platon (Against Plato, 1962)Pierre écrite (Words in Stone, 1965)Dans le leurre du seuil (Lure of the Threshold, 1975) Source for information on Bonnefoy, Yves: Gale Contextual Encyclopedia of World Literature dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/bonnefoy-yves
|
Yves Bonnefoy
BORN: 1923, Tours, France
NATIONALITY: French
GENRE: Poetry, translation, literary criticism
MAJOR WORKS:
Du mouvement et de l'immobilite de Douve (On the Motion and Immobility of Douve, 1953)
Hier regnant desert (In Yesterday's Desert Realm, 1958)
Anti-Platon (Against Plato, 1962)
Pierre écrite (Words in Stone, 1965)
Dans le leurre du seuil (Lure of the Threshold, 1975)
Overview
Poet, translator, and respected critic of both literature and art, Yves Bonnefoy is widely acknowledged as the most
significant and influential figure in contemporary French poetry. Critics note in Bonnefoy's work affinities with both the metaphysical poets of the seventeenth century and the surrealists of the twentieth century. He is admired for his investigation of spiritual and philosophical matters and his preference for exploring the subconscious rather than material reality and conscious perceptions.
Works in Biographical and Historical Context
Landscape and Loss Yves Bonnefoy was born in Tours, France, on June 24, 1923, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury Bonnefoy, a teacher. Bonnefoy spent his childhood summers at his grandfather's house in Toirac, near the Lot River. This summer landscape, he is quoted as saying in the preface to New and Selected Poems: Yves Bonnefoy (1995), “formed me in my deepest choices, with its vast, deserted plateaus and gray stone,” providing images and themes that his poetry has probed ever more deeply over the years. His early life was also profoundly influenced by the loss of his father, who died when Bonnefoy was thirteen. Bonnefoy reacted to this loss by immersing himself in his studies. A more lasting and more poetically resonant impact of his father's loss may be found in the sense of desolation that pervades his early work, relieved, however, by moments of clarity and illumination redolent of his idyllic childhood summers.
Literary Success In 1944 Bonnefoy arrived in Paris—which was occupied by Nazi German troops at time—to study mathematics and philosophy at the Sorbonne. He began to write poetry under the influence of such surrealists as André Breton and Victor Brauner. His study of the German philosopher George Friedrich Wilhelm Hegel is also evident throughout his work. Hegel's theory operates both thematically and structurally in Bonnefoy's poetry, allying his work with surrealism.
With the encouragement of Jean Wahl, Bonnefoy put aside his philosophy thesis and worked for three years at the National Center for Scientific Research, studying English literary creativity, reading literary theorists, and writing his own poetry. His first major collection, On the Motion and Immobility of Douve (1968), was published in 1953 to immediate acclaim and established his reputation. The collection of short poems centers around a mysterious female, Douve. She variously represents earth, woman, love, and poetry. The progress of the poem portrays changing moods and metaphysical transformations and sets up dialectics such as mind/spirit, hope/despair, and life/death.
The publication of In the Shadow's Light, and Early Poems, 1947–1959 reinforced Bonnefoy's reputation as a great postwar poet, one dedicated to crafting verses that embrace and envelop human feelings and emotions. In 1966 Bonnefoy cofounded a journal of art and literature, L'Ephéme, with Gaëtan Picon, André du Bouchet, and others; he coedited the review until it ceased publication in 1972. Since the 1970s, Bonnefoy has taught literature at several universities. He wrote many philosophical essays on the nature of writing and continued to published poetry, including the lauded 1975 collection Dans le leurre du seuil (Lure of the Threshold).
In the 1980s and 1990s, Bonnefoy turned his attention to translating the poetry of such writers as John Donne, John Keats, and William Butler Yeats. At present, Bonnefoy continues to write essays and translate Shakespeare's plays into French.
Works in Literary Context
The Unity of Things Much of Bonnefoy's poetry is preoccupied with loss and death, and the transience of all earthly things is emphasized as a paradoxical compensation for the loss of hope for immortality. Some critics view his work as a quest for what Bonnefoy himself terms “le vrai lieu” (the true place), a location in time or space, or a state of mind wherein the fundamental unity of all things is perceived. Bonnefoy's insistence on the importance of accepting the presence of death in everyday life has prompted many commentators to regard him as the first existentialist poet. Jean Starobinski commented: “The work of Bonnefoy offers us today one of the most committed and deeply pondered examples of [the] modern vocation of poetry. His writings as poet and essayist, in which the personal accent is so clear, and in which the I of subjective assertion is manifested with force and simplicity, have for [their] object a relation to the world, not
an internal reflection on the self. This oeuvre is one of the least narcissistic there is.”
Works in Critical Context
Bonnefoy's first three volumes of verse, On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone, are often considered a poetic cycle. Each volume is composed of short, interrelated poems that expand or resolve themes present in the others.
On the Motion and Immobility of Douve Critics have variously interpreted Douve as the speaker's beloved, a mythological symbol for all women, a river or moat, a forest, the poetic principle, and as the poem itself. Against a surreal and stark landscape in which wind, stone, and fire are discernible elements, Douve repeatedly dies, decomposes, and comes back to life. Michael Bishop remarked: “Death, despite its ‘frightful,’ ‘silly’ orchestrations is felt, throughout these intense poems, to be doubly positive. It is the one phenomenon that, for Bonnefoy, flings us back towards our existence, our leaking yet potentially full being-in-the-world.”
In Yesterday's Desert Realm and Words in Stone In the collection In Yesterday's Desert Realm, Bonnefoy explores the significance of death and its presence in daily life. Although Bonnefoy employed a more optimistic tone and less-violent imagery in this collection, the poems are generally considered more difficult and have garnered the least critical attention of the three volumes in the cycle. In an essay, Marc Hofstadter presented the idea that In Yesterday's Desert Realm is a continuation of the journey begun in On the Motion and Immobility of Douve and the journey is completed in Words in Stone. Hofstadter wrote: “Beginning in despair of the validity of the search or of the self's ability to pursue it … In Yesterday's Desert Realm takes the poet and us through a journey that ends, after all, in an opening up towards presence. Words in Stone emphasizes presence in the here-and-now and maintains the optimism which concluded In Yesterday's Desert Realm by praising the present moment as not only all there is but all that the speaker desires.”
LITERARY AND HISTORICAL CONTEMPORARIES
Bonnefoy's famous contemporaries include:
Simone de Beauvoir (1908–1986): French author and theorist, most recognized for her metaphysical novels, she laid significant groundwork for contemporary feminist thought in her 1949 analysis of women's oppression, The Second Sex.
James Dewey Watson (1928–): A molecular biologist and codiscoverer of the structure of DNA.
Alfred Hitchcock (1899–1980): Movie director known for his thriller and suspense films.
Madeleine Albright (1937–): The first female United States Secretary of State.
Anne Frank (1929–1945): A young Dutch writer who penned her famous Diary of a Young Girl while she hid from the Nazis in Amsterdam.
Jean-Paul Sartre (1905–1980): Author, philosopher, and critic, this Frenchman is renowned for his philosophical principles of existentialism.
COMMON HUMAN EXPERIENCE
Foremost to Bonnefoy's themes is the presence of death in everyday life, leading some to label him “the first existentialist poet.” Other works that explore humankind's preoccupation with death and the possibility of immortality include:
Fear and Trembling (1843), a book by Søren Kierkegaard. In his interpretation of the biblical story of the sacrifice of Isaac, Binding of Isaac, Kierkegaard explores the conflicts between theology and philosophy, ethics and morality.
Notes from the Underground (1864), a novel by Fyodor Dostoyevsky. Widely considered to be the first existentialist novel, this work influenced numerous writers, including Jean-Paul Sartre, Friedrich Nietzsche, Leo Tolstoy, Anton Chekhov, Joseph Heller, and Ralph Ellison.
Thus Spoke Zarathustra (1883–1985), a philosophical treatise by Friedrich Nietzsche. Among the many themes explored in Nietzsche's best-known work is that of eternal recurrence, the concept that everything that has occurred in history will repeat itself an infinite number of times.
Nausea (1938), a novel by Jean-Paul Sartre. Famous as one of the most important existentialist texts, this novel explores thirty-year-old protagonist Antoine Roquentin's struggle with existential angst, unreality, and the hostility of the human condition.
Responses to Literature
As you read Lure of the Threshold, note the imagery Bonnefoy chooses. In a short analysis, note images that are particularly striking and explain how these images relate to the themes Bonnefoy explores.
Using Lure of the Threshold as an example, discuss the role of the past in Bonnefoy's verse.
Bonnefoy is often considered the first surrealist poet. Others have argued that he is the first existentialist poet. Use several of Bonnefoy's poems to provide examples of these labels.
Using specific examples from his first three volumes of poetry—On the Motion and Immobility of Douve, In Yesterday's Desert Realm, and Words in Stone—describe Bonnefoy's views on death.
BIBLIOGRAPHY
Books
Caws, Mary Anne. Yves Bonnefoy. Boston: Twayne, 1984.
Entretiens sur la poésie: Yves Bonnefoy. Neuchâtel, Switzerland: A La Baconnière; Paris and Lausanne, Switzerland: Payot, 1981. Enlarged as Entretiens sur la poésie: 1972–1990: Yves Bonnefoy. Paris: Mercure de France, 1990.
Gavronsky, Serge. Poems and Texts. New York: October House, 1969.
Hamburger, Michael. The Truth of Poetry. New York: Harcourt, 1970.
Lussy, Florence de, comp. Yves Bonnefoy. Introduction by Emmanuel Le Roy Ladurie. Preface by Jean Starobinski. Paris: Bibliothèque Nationale/Mercure de France, 1992.
Naughton, John T. The Poetics of Yves Bonnefoy. Chicago: University of Chicago Press, 1984.
Stamelman, Richard. Lost Beyond Telling: Representations of Death and Absence in Modern French Poetry. Ithaca, N.Y.: Cornell University Press, 1990.
Thelot, Jerome. Poétique d'Yves Bonnefoy. Geneva, Switzerland: Droz, 1983.
Periodicals
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https://www.woodlibrarymuseum.org/rare-book/bonnefoy-jb-analyse-raisonnee-des-rapports-des-commissaires-charges-par-le-roi-de-lexamen-du-magnetisme-animal-1784/
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Bonnefoy JB. Analyse raisonnée des Rapports des Commissaires chargés par le roi de l’examen du magnétisme animal, 1784.
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2021-01-20T21:45:30+00:00
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en
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Wood Library-Museum of Anesthesiology
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https://www.woodlibrarymuseum.org/rare-book/bonnefoy-jb-analyse-raisonnee-des-rapports-des-commissaires-charges-par-le-roi-de-lexamen-du-magnetisme-animal-1784/
|
Catalog Record: Bonnefoy JB. Analyse raisonnée des Rapports des Commissaires chargés par le roi de l’examen du magnétisme animal, 1784.
Title: Analyse raisonnée des Rapports des Commissaires chargés par le roi de l’examen du magnétisme animal / par J.B. Bonnefoy.
AccessKey: acca
Author: Bonnefoy, Jean-Baptiste, 1756-1790.
WLM Call Number: WO 391 B64 1784 RB
Accession NO.: 8118
Publisher: Lyon : Prault, 1784.
Physical Description: 98 p. ; 20 cm.
Document Type: Pamphlet
Language: fre
Subject: France. Royal Commission. Report on Animal Magnetism (1784).
Subject: Animal Magnetism – France.
Subject: Mesmerism.
Abstract: This is one of the most frequently cited attacks on the Royal Commission’s Report on Animal Magnetism of 1784. Bonnefoy was an ardent supporter of Mesmer and animal magnetism. He was severely rebuked by the Medical Faculty of the University of Paris because of his defense of Mesmer’s theories.
General Notes: Copy 2 bound with WO 391 Se69 1784 RB c.2.
General Notes: Digitized by Northern Micrographics July 21, 2011.
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https://www.theglobeandmail.com/arts/yves-bonnefoy-frances-pre-eminent-postwar-poet-dies-at-93/article30888917/
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Yves Bonnefoy, France’s pre-eminent postwar poet, dies at 93
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A man of letters, he also translated Shakespeare and wrote widely on art
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en
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The Globe and Mail
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https://www.theglobeandmail.com/arts/yves-bonnefoy-frances-pre-eminent-postwar-poet-dies-at-93/article30888917/
|
Yves Bonnefoy, generally regarded as France's pre-eminent poet of the postwar era, as well as its leading translator of Shakespeare and a wide-ranging art critic, died on July 1 in Paris at the age of 93.
French President François Hollande called Mr. Bonnefoy "one of the greatest poets of the 20th century" and praised him for "elevating our language to its supreme degree of precision and beauty." His wrote more than 100 books, and saw his works translated into 30 languages.
Mr. Bonnefoy burst onto the literary scene in 1953 with On the Motion and Immobility of Douve, a long poetic sequence that revolved around a mysterious female figure, Douve, whose shifting guises invoked the powers of death and rebirth and poetry itself.
"It was a stunning achievement, a work of extraordinary technical mastery, playing with the traditional alexandrine, the 12-syllable line, but subverting it," John Naughton, the author of The Poetics of Yves Bonnefoy (1984), said in an interview. "Readers sensed that a new voice had come on the scene and that a new generation was coming to prominence after the war."
By 1978, when his collected poems were published, Mr. Bonnefoy's position as France's most important poet, and one if its most influential men of letters, was secure. The French Academy awarded him its grand prize for poetry in 1981, and in 1987 he was awarded the Goncourt Prize for Poetry.
Yves Bonnefoy was born June 24, 1923, in Tours. His father, Élie, who worked in a locomotive-assembly shop, died when Yves was 13. His mother, Hélène, worked as a schoolteacher to support the family.
After graduating from the Lycée Descartes, where he took advanced courses in philosophy and mathematics, Yves studied mathematics at the Université de Poitiers. In 1943, he headed to Paris, ostensibly to complete his studies in mathematics, but he was determined to establish himself as a writer and, deeply influenced by André Breton and Paul Éluard, to mingle with the surrealists.
He started a surrealist journal, called Revolution, Night, in which he published a long poem, Heart Space. Gradually, however, he found himself out of sympathy with the movement and its obsession with magic and the supernatural.
He took courses at the Sorbonne, somewhat aimlessly, but managed to obtain travel grants that took him to Italy, the Netherlands and London. He returned to the study of philosophy and completed a thesis on Kierkegaard and Baudelaire at the Sorbonne under the direction of Jean Wahl, a pivotal figure who helped introduce Hegel and Kierkegaard to France.
Mr. Wahl found a position for Mr. Bonnefoy at the National Centre for Scientific Research to write on what was known as the New Criticism and the philosophy of literary criticism in the English language. An essay he wrote about English and French criticism found its way to the journal Encounter, which published it in 1958, securing his entrée to the British and U.S. academic worlds. He later taught literature at several U.S. universities, including Brandeis, the City University of New York, Johns Hopkins, Princeton and Yale.
Mr. Bonnefoy came of age in the midst of a world war and a seeming collapse of all civilized values and beliefs. His poetry was suffused with the search for unity and meaning in a meaningless age. Central to his thinking was the concept of "presence" – usually stimulated by the natural world, of "time transfigured by the moment," as he once put it.
In this quest, language was the key that both opens and locks the doors of perception. "We are deprived through words of an authentic intimacy with what we are, or with what the Other is," he said in a 1994 interview with The Paris Review.
"We need poetry, not to regain this intimacy, which is impossible, but to remember that we miss it and to prove to ourselves the value of those moments when we are able to encounter other people, or trees, or anything, beyond words, in silence."
His self-searching continued in his 1958 collection Yesterday's Wilderness Kingdom, but his 1965 book, Words in Stone, reflected a sense of spiritual calm, or at least resignation. For several years, he had been renovating an old farmhouse in Provence, with Lucy Vines, an American expatriate whom he married in 1968. (His first marriage had ended in divorce.) She survives him, as does their daughter, Mathilde Bonnefoy.
The countryside surrounding his new home supplied him with an inexhaustible store of images that populate Words in Stone, The Lure of the Threshold (1975) and In the Shadow's Light (1987). In 1972, he published a philosophical memoir, L'Arrière-Pays (Heartland), about his summer visits to his grandparents, who lived in a village in the Lot River valley.
In 1954, translator Pierre Leyris, who was overseeing the publication of the complete works of Shakespeare into French, assigned Mr. Bonnefoy a few scenes from Julius Caesar as a tryout. Delighted with the results, he asked him to translate the entire play, then added Hamlet; Henry IV, Part I; The Winter's Tale; and the poems. Mr. Bonnefoy plunged deeply into Shakespeare and his works, and never emerged.
Over the years, he translated 15 of the plays and all of the sonnets, and wrote extensively on Shakespeare's poetics. His translations of Yeats are equally well known in France. His many works of art criticism include studies of Goya, French Gothic murals and Italian Baroque painting.
"When I went to America in 1958 I knew Elizabethan English better than the contemporary idiom," he recalled to The Paris Review. "You were lucky if I didn't use 'multitudinous' or 'incarnadine' instead of 'many' or 'red.'
New York Times News Service
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https://www.abebooks.com/book-search/author/BONNEFOY%252C-JEAN-BAPTISTE
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en
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Bonnefoy, Jean Baptiste
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"Richard; Bonnefoy",
"Yves; Trombadori",
"Cecilia; Archimbaud",
"Michel; Auffret",
"Jean-Baptiste",
"Jean Baptiste",
"Jean-Baptiste Bonnefoy",
"Albert; Syp",
"Laurence; Veyron La Croix",
"Estelle; Bonnefoy"
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2020-07-23T00:00:00
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Analyse Raisonnee Des Rapports Des Commissaires Charges Par Le Roi de l\ Examen Du Magnetisme Animal by Bonnefoy, Jean Baptiste and a great selection of related books, art and collectibles available now at AbeBooks.com.
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en
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https://www.abebooks.com/book-search/author/bonnefoy-jean-baptiste/
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LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 59.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1785 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 62 Language: French.
LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 89.
Leatherbound. Condition: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1784 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 110 Language: French Pages: 110.
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https://www.walmart.com/ip/Oxford-Modern-Languages-Literature-Monographs-Yves-Bonnefoy-and-Jean-Luc-Nancy-Ontological-Performance-Hardcover-9780198849582/197608044
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http://jacketmagazine.com/14/bishop-bonnefoy.html
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Judith Bishop on Yves Bonnefoy
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After gesture, verbal language is the means by which we formulate demands and requests to others for the fulfilment of our needs and desires. It is indispensible in the establishment of intimate relations with the other.
However, language is also the medium of a wider sociality, and with it, participation in conventions, linguistic and cultural, which inevitably pattern intimate relations. In postwar France, a range of thinkers sought to give a third, ontological inflection to the notion of intimacy. Among them were Georges Bataille and Maurice Blanchot, whom Joseph Libertson referred to, together with Emmanual Levinas, as the ‘philosophers of proximity’[See note [iii]]. In his (1991) monograph dedicated to the Swiss sculptor and painter Alberto Giacometti[See note [iv]], Bonnefoy acknowledged the profound influence of a journal directed by Bataille, Documents, in establishing the direction of postwar critical concerns in France. In the Bibliothèque Nationale survey of ‘Quelques livres qui ont compté’ (Books which have mattered), he describes Le Coupable (The guilty one) and L’Expérience intérieure (Inner experience) as works which provoked in one the feeling that they ‘were speaking of the essential’[See note [v]]. Maurice Blanchot, for his part, addressed two articles, ‘Le grand refus’ (The great refusal) and ‘Comment découvrir l’obscur?’ (How to discover what is in darkness?)[See note [vi]]to the question of poetic mission raised in Bonnefoy’s book of essays, L’improbable (The Improbable), when it first appeared in 1959.[See note [vii]]The title of this book spoke directly to a stream of thought on possibility and impossibility which had currency in the contemporary philosophies of being and language. That the presence of natural things might manifest itself in language was not impossible, Bonnefoy implied, but simply improbable . The improbable in this context served to index the poet’s desire for the (apparently) impossible. Extending the connection between himself as poet-philosopher and the philosopher of poetry, Bonnefoy wrote in an English-language article of Blanchot as a reader alert to poetic meaning not as a web of semantic associations, but rather, as subtle traces of ‘something which tends to break down any kind of structure, because it is man’s relation to nothingness and death.’[See note [viii]]
Even more than in his critical writings, a concern for an intimacy at once sensual, sexual, and – as if crossing a seamless border – ontological, appears in the early poetry of Bonnefoy, most notably in the long sequence of poems that constitutes Du mouvement et de l’immobilité de Douve. The sensual experience of the reader in relation to a text dealing with intimacy and desire as ontological concerns is as fundamental as the writer’s. It was Blanchot who brought to light most vividly the triangular intimacy of reader, writer and text in L’espace littéraire , first published by Éditions Gallimard in 1955.[See note [ix]]Writing’s indifference to the presence of reader and writer constitutes the possibility of an intimacy between the latter, in the reader’s recognition and indeed, affirmation of the necessary effacement of the writer’s unique presence within language:[See note [x]]
The work is itself communication. It is intimacy shared in struggle by reading’s demand and writing’s: by the work as form and measure, constituting itself as power, and the same work’s measureless excess, tending toward impossibility.
Blanchot wrote that ‘impossibility is being itself’. Possibility is the movement of assimilation by which the subject creates its reality by negating the separate being of what is assimilated, and by creating its reality provides itself with the means for further assimilations. These future assimilations are its possibilities. In such a context, ‘desire is precisely this relation to impossibility’[See note [xi]]. Nothing can be made of being as presence: it cannot be used for anything, nor consumed; though it is desired, it cannot satisfy desire. It is above all the notion of a desire that would affirm the impossibility of satisfaction with the projections of subjectivity in writing, and the loss of presence in the labyrinth of images, that informs the poetics of Bonnefoy.
Presence and communication
‘When I expressed the principle of losing one’s grip (glissement ) – as the presiding law of communication –’ writes Bataille, ‘I believed I had got to the bottom of the matter’[See note [xii]]. There is a certain common understanding in the work of Bataille and Bonnefoy regarding this philosophical notion of communication, which has little in common with the everyday notion of the transference of a message. A word such as ‘empathy’ might perhaps render it more closely; or the image of the joined chemical vessels the French call ‘les vases communicants’, in which the fluctuations of pressure in one vessel are always balanced by a change of fluid level in the other.
Glissement , the movement by which subjects enter together the space of angoisse (anguish), reveals a desire to shed the accumulated patterns of knowledge through or within which each subject sees and acts, in a certain sense, alone. The same movement of glissement animates the subject’s reflexive awareness of the stability that is thereby placed at risk. Communication exists in a shared movement of glissement , the mutual apprehension of the subject as ‘suspended’ across the void of non-savoir (not-knowing). The approach of death – or a willed approach to the radius of death – brings the subject to the limen of that void.
The speaker of Du mouvement et de l’immobilité de Douve describes the figure of Douve as[See note [xiii]]
Parée pour une fête dans le vide
Et les dents découvertes comme pour l’amour,
Fontaine de ma mort présente insoutenable.
Adorned for a festival in the void,
Teeth bared as if for love,
Fountain of my death living unbearable.
In Bataille’s L’histoire de l’érotisme (History of eroticism), fête – feast or festival – is the transgression of a relation to being (être ) represented by simple absorption in physical sensation.[See note [xiv]]Ethnographically, fête is also a form of communication effected through a deliberate and exuberant dissemination of wealth, a symbolic display of indifference to the daily means by which life is sustained: thus it is the celebration accompanying sacrifice.[See note [xv]]Douve appears earlier in this sequence as ecstatically seeking her own sacrifice: ‘toute/ En quête de la mort sur les tambours exultants de [s]es gestes’ (‘all/ Bent on death on the exulting drums of [her] gestures’)[See note [xvi]]. In the lines quoted above, it is through the mediation of Douve that the speaker experiences the anguish which is the upsurge of death in the present. It is this implication of the other in one’s own experience of being which Bataille calls ‘communication’. L’amour is the relation in which communication – a form of découverte , or disclosure – takes place: love reveals ‘cette qualité d’être que chacun doit à la présence de l’autre’, (‘that quality of being that each owes to the presence of the other’).[See note [xvii]]
For Bonnefoy and Bataille, the desire for communication also requires the rejection of self-reflexive desires which assimilate and neutralise the autonomy of natural being, such as the irreflective being of the body. The desire that bears on the being of natural things seeks reabsorption in the sphere of natural being, linking ‘nous ne savons quel brillant intérieur, infiniment vague, aux plus aveugles mouvements de la nature’ (‘we know not what brilliant interior, infinitely obscure, to the most blind motions of nature’).[See note [xviii]]For Bataille, this desire differs from Hegel’s conception of ‘absorption’ in sensual contemplation in so far as it remains ambiguous, anguished, a suspension between possibilities of satisfaction and resolution, which, conflict remaining, cannot be either accepted or entirely refused. What is revealed by this desire is not, as for Hegel, the object contemplated, nor the independence of the human subject from the being of natural things. Rather, it is the inability of the subject to detach itself from natural being. Human being is always on the brink of falling back into a simple bodily sphere of being. Representations tend to conceal the silent and ceaseless mobility and chaos of the being proper to natural things – a mobility revealed in startling fashion in the numismatic iconography of the Gauls. In an influential article, ‘Le cheval académique’ (The academic horse), Bataille presented illustrations of a set of coins displaying representations which belie the ancient Greek belief in form’s manifestation of idea and essence. The Gnostic figures of horses on these coins show no regularity of form as one might expect on currency, but rather the boundless energy and inventiveness of a transgressive decomposition of form.
For Bonnefoy, it is also natural being which a certain desire bears upon – ‘le désir de l’immédiat’ (‘the desire for immediacy’) – and which is momentarily revealed in the movement of communication. This paradoxical desire, contra Hegel, is an openness to alterity; it is not a desire to assimilate the non-self to the self, but a desire for the other as other. But here, the ‘other’ is the being of natural things, perceived in relation to the being proper to subjectivity. In Du mouvement et de l’immobilité de Douve , Douve represents the alterity of natural being in relation to the principal speaker. A section entitled, ‘Douve parle’ (‘Douve speaks’), follows sequences culminating in the main speaker’s affirmation:[See note [xix]]
Tue cette voix qui criait à ma face
Que nous étions hagards et séparés,
Murés ces yeux: et je tiens Douve morte
Dans l’âpreté de soi avec moi refermée.
Et si grand soit le froid qui monte de ton être,
Si brûlant soit le gel de notre intimité,
Douve, je parle en toi; et je t’enserre
Dans l’acte de conna”tre et de nommer.
Silenced that voice which shouted to my face
That we are stranded and apart,
Walled up those eyes: and I hold Douve dead
In the rasping self locked with me again.
And however great the coldness rising from you,
However searing the ice of our embrace,
Douve, I do speak in you; and I clasp you
In the act of knowing and of naming.
Douve responds, remarking that it is her own voice – which is a kind of silence, the silence of alterity – that inspires the speaker’s cry of affirmation:[See note [xx]]
Pourtant ce cri sur moi vient de moi,
Je suis mûré dans mon extravagance.
Quelle divine ou quelle étrange voix
Eût consenti d’habiter mon silence?
And yet the cry comes from myself,
I am walled up in my extravagance.
What divine or what strange voice
Would have agreed to live in my silence?
Much of the force of Du mouvement et de l’immobilité de Douve is captured by the subjunctive modality of Douve’s eventual invocation: ‘Que le froid par ma mort se lève et prenne un sens’ (‘Let the cold by my death arise and take on meaning’)[See note [xxi]]. Douve desires that ‘the cold’ become meaningful for the observer: yet the observer does not produce that meaning: ‘Que le froid par ma mort se lève... ’. The cold she refers to is the revelation of subjectivity as néant , as unfounded, when all that remains is the enigma of being. It is a stage in the development of Douve’s death, which is marked by the speaker’s assertion in relation to Douve: ‘Je te tiens froide à une profondeur où les images ne prennent plus’ (‘I hold you cold at a depth where images will not take’)[See note [xxii]]. But the sense of enigma induced by the cold is not insurmountable. That it is to be understood as a ‘stage’ is confirmed by Douve’s desire that it ‘take on meaning’ – but only through the mediation of her death, and not by a turning away from death.
In anguish, wrote Blanchot, the subject is affected or ‘inspired’ by alterity, the distance between the self and its other. Nonetheless, in so far as it is the experience of subjectivity’s negation, anguish (symbolized by the cold) remains a relation to being that is mediated by subjectivity (‘notre tête’, ‘our head’)[See note [xxiii]]:
Au premier jour du froid notre tête s’évade
Comme un prisonnier fuit dans l’ozone majeur,
Mais Douve d’un instant cette flèche retombe
Et brise sur le sol les palmes de sa tête.
Ainsi avions-nous cru réincarner nos gestes,
Mais la tête niée nous buvons une eau froide,
Et des liasses de mort pavoisent ton sourire,
Ouverture tentée dans l’épaisseur du monde.
On the first day of cold the head escapes
As a prisoner flees into rarest air,
But Douve for an instant that arrow falls
And breaks its crown of palms on the ground.
So we had dreamed of incarnate gestures
But with mind cancelled we drink a cold water,
And death’s banners flutter at your smile,
Attempted rift in the thickness of the world.
(Bonnefoy 1992b.: 64)
The affirmation of presence
Douve may thus be read as the mise-en-scène of a ‘dialogue of anguish and desire’ (the title of the final section in the third book of poems, Pierre écrite [See note [xxiv]]). The speaker of the poems, desiring the presence of Douve, undergoes a trial (épreuve ) in which he is witness to the upsurge of her death in the form of the insistence of matter and her body’s gradual decay – an alterity of matter which threatens to disperse subjectivity itself. As the poems unfold, it is clear that the experience of anguish must be undergone as a precursor to affirming a renewed relation to being, symbolized by the repeated and mute illuminations of Douve’s abrupt gestures: ‘Le bras que tu soulèves, soudain, sur une porte, m’illumine à travers les âges.’ (‘The arm you lift, suddenly, at a doorway, lights me across the ages’)[See note [xxv]]. The gestures of Douve are neither vague nor obscure; rather, they are the source of a certainty (évidence) retained by the speaker after the event. They reveal the experience of presence as that of a paradoxical appearance which disappears, or disappearance which appears, as Blanchot, too, conceived it: ‘Village de braise, à chaque instant je te vois na”tre, Douve,/ À chaque instant mourir.’ (Village of embers, each instant I see you being born, Douve,/ Each instant dying.’)[See note [xxvi]].
Douve’s acts (gestes ) mark the excess of an undialectic affirmation (the affirmation explored in L’improbable ) over a negation which remains dialectic (anguish remains a negative relation to subjectivity). Her ‘acts’ are often gestures. It is Douve’s body which undergoes a process of decomposition, and it is her body which affirms itself through gesture as containing a principle in excess of the pure matter by which it is invaded and to which it returns. Douve’s presence is affirmed in the ‘exulting drums of [her] gestures’, or the arm she raises suddenly across a threshold and which is a source of heat and illumination in the cold night of anguish.
Douve’s acts affirm a relation to the obscurity of being as presence other than a relation of anguish, in which ‘tout s’arrête’, and hope seems lost:[See note [xxvii]]
Secouant ta chevelure ou cendre de Phénix,
Quel geste tentes-tu quand tout s’arrête,
Et quand minuit dans l’être illumine les tables?
Shaking your hair or Phoenix’s ashes,
What motion do you make when everything stops,
And the inner midnight lights the tables?
The experience of disincarnation
For Bonnefoy, poetry is a source to which the poet returns, inquiring of presence, where it is to be found again... Blanchot writes of poetic language that ‘the word becomes desire , trusting to desire to bring it back to its source.’ Or, as René Char (quoted by Blanchot) proposed: ‘The poem is the realized love of desire still desiring.’[See note [xxviii]]
The written trace of lost presence is a shadow cast by language upon the actual being of the writer, who is ‘l’origine’, the origin of the work. In Bonnefoy’s fourth book of poems, Dans le leurre du seuil (1975) (In the lure of the threshold) the boatman, Charon, figures the shadowy hand and body of the writer, attempting the crossing from the near shore of being to the far shore of language:[See note [xxix]]
Se jette en criant celui qui
Nous représente,
Ombre que fait l’espoir
Sur l’origine,
Et la seule unité, ce mouvement
Du corps - quand, tout d’un coup,
Da sa masse jetée contre la perche
Il nous oublie.
He launches himself with a cry,
The one who represents us,
Shadow of hope fallen
Across the origin,
And the only unity, this motion
Of the flesh - when, of a sudden,
His weight thrown full against the pole,
We are forgotten.
The space of the poem is the unfolding and closing down again of the impossible motion in which the hope of maintaining a presence in language seems for an instant accomplished, ‘the origin blossoming into a beginning’[See note [xxx]].
But it is just that impossibility which will necessitate the interminable repetition of the crossing by the boatman: the act of writing, of remembering.[See note [xxxi]]
Mais non, toujours
D’un déploiement de l’aile de l’impossible
Tu t’éveilles, avec un cri,
Du lieu, qui n’est qu’un rêve.
But no, as always,
the wing of the impossible unfolding,
you awaken, with a cry,
from the place, that is nothing but a dream.
The sites in a poem where significations coagulate are paradoxically, the places at which presence is at once most close to expression, and the most intense site of its loss, ‘[b]lessure inguérissable’ (‘incurable wound’)[See note [xxxii]]:
Le ciel brille pourtant des mêmes signes,
Pourquoi le sens
A-t-il coagulé au flanc de l’Ourse,
Blessure inguérissable qui divise
Dans le fleuve de tout à travers tout
De son caillot, comme un chiffre de mort
L’afflux étincelant des vies obscures?
Yet the sky glitters with these signs,
Why has meaning dried like blood
On the flank of the Bear,
An incurable wound that divides
In the river of all life
With its clot, like a cipher for death,
The glistening flow of darkened lives?
The river crossed by the boatman is the motion of finitude. It is a metaphor for the idea of ‘the true place’ that Bonnefoy proposes in the essay ‘L’acte et le lieu de la poésie’, in which finitude would cease to be experienced as an enigma: ‘The true place is a fragment of time enveloped by eternity... in the true place chance loses its enigmatic character’[See note [xxxiii]].
The section of the book titled ‘Deux barques’ (‘Two barges’) is an exploration of the communication with other beings sought by the poetic text, within the framework of the myth of the boatman-writer. It opens onto a space of stillness and waiting; a presence has been, there has been an awakening; but now the writer remains restless while the presence sleeps and is silent. This is, perhaps, the imaginary space of ‘being’s inertia’ (Blanchot) between the deferred time of writing and the intimacy of being that has already retreated at the work’s approach:[See note [xxxiv]]
L’orage qui s’attarde, le lit défait,
La fenêtre qui bat dans la chaleur
Et le sang dans sa fièvre...
The storm that will not break, the rumpled bed,
the windows fluttering in the heat
the fevered blood...
The windows flutter in the quiet space between inside and out, subject and other, the curved back and blood of the poet and the aridity of the image, from which the blood of presence is always already lost. Shutters vibrate in an atmosphere of immobility, a figure which returns us to the opening of the poem:[See note [xxxv]]
A nouveau ce bruit d’un ailleurs, proche, lointain;
Tu vas à ce volet qui vibre... Dehors, nul vent,
Les choses de la nuit sont immobiles
Again that noise of another place, close and far away;
You go to that shutter which is shivering... Outside, not a breath of wind,
the things of the night are still
The writer seeks to recover the body of the lover, dispersed through and by the poem:[See note [xxxvi]]
La main proche à son rêve, la cheville
A son anneau de barque retenue
...
Puis le regard, puis la bouche à l’absence
Et tout le brusque éveil dans l’été nocturne
Pour y porter l’orage et le finir.
Hand close to her dream, her heel
held by the tow-ring of the barge
...
Then the look, then the mouth, opening into absence
And all the brisk awakening in the summer night
To carry the storm there and be done.
The dissolution of being is the fatal end of writing; for language will, of necessity, ‘carry the storm there and be done’.
Before the prospect of dissolution, ‘[s]’étant accru en nous ce bruit de mer’ (‘having grown in us that sound of the sea’), the writer is tempted to forget the intimacy of presence, no longer to resist the dispersion of his being in his language, to accept the negativity of the enigma presence becomes at the approach of writing: ‘Et l’étranger l’exil, en toi, en moi/ Se fasse l’origine...’ (‘And the stranger called exile, in you, in me/ Makes itself the origin...’)[See note [xxxvii]]. But he is unable to forget; forgetting remains a relation to presence.
Approaching the memory of presence – ‘cette eau où fleurit nos ressemblances’ (‘that water where our likenesses bloom’)[See note [xxxviii]]– the writer imagines not simply his own desire, but the other’s desire to be a presence to him. The writer’s questioning of the other is a response to her desire:[See note [xxxix]]
Je murmure: C’est donc ce que tu veux,
Puissance errante insatisfaite par les mondes,
Te ramasser, une vie, dans le vase
De terre nue de notre identité?
Et c’est vrai qu’un instant tout est silence...
I murmur: So this is what you want,
Errant power dissatisfied by all the worlds,
To gather yourself, a life, to fill the vase
Of naked clay of our identity?
And it’s true that there was a moment’s silence...
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https://rolmolo.livejournal.com/
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rolmolo
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http://pics.livejournal.com/rolmolo/pic/00024rzp
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rolmolo - the new blog in LiveJournal. There should be new interesting records soon.
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https://rolmolo.livejournal.com
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P-P-P-P-PART 2!!!!!!!!!!!!!!!!! Woooooo! And i know its not in the correct week but.. um... yeahhhhh. Oh, and mods, the first part was in the correct week and was 3,496 words long. This part is 2,696 words!
Ivan felt warm. Warm and rested. And… sore? He shifted slightly, feeling that there was a large weight on his stomach. Slowly, he cracked open violet eyes, only to be met with piercing blue ones. He looked down slightly to find that a young boy, perhaps twelve or thirteen sat perched on his chest. The boy had hair that looked like gold and pale, almost translucent skin that spoke of someone who had never done a day’s work.
“So you ARE a human!” The boy chirped, a wide grin lighting up his face.
Ivan couldn’t say anything for a few moments. He did not understand why this boy wasn’t scared of him, nor repulsed by him. “Yes,” he replied slowly, still staring blatantly at the adorable child in front of him.
“Come on then!” the boy said, “daddy made breakfast! He wants you to meet my sisters!” the boy said, promptly jumping off of Ivan. “So what’s your name anyways? Or should I just call you bear man? I’m Alfred by the way,” the boy prattled, leading Ivan out of the room.
“My name is Ivan,” he said, smiling. Listening to the boy talk was quite amusing. It was almost like the child was blind and could not see Ivan’s outwardly appearance.
“Yvonne? Isn’t that a name for a woman? I think I might have an Aunt Yvonne, but she,” Alfred said, quickly being cut off.
“Ivan. EE-von,” Ivan repeated.
“OH! IVAN!” Alfred said nodding, “That makes more sense. But then again, under all that stuff you’re wearing, you may have been a girl. Who knows!” Alfred laughed, leading Ivan to the kitchen. “So...” Alfred said, as they descended the stairs. “You’re gonna marry one of my sisters?”
Ivan nodded, “That is what your father promised me in return for helping him out.”
“Wow,” Alfred said as they rounded the corner to the kitchen, “You must have…” He started, but was cut off by a scream.
“What is that!?” A woman said, yelling and thrusting a finger towards where Ivan and Alfred stood in the doorway. “Father!” the woman shrieked, turning to a stunned and embarrassed looking Francis. “You must be out of you mind if you want me to marry that… that… that thing!”
Ivan shrugged slightly. He had gotten used to this reaction. He felt a slight pull at his sleeve and looked down to see Alfred staring at him. “That my oldest sister…” Alfred trailed off, turning to look at the blonde woman who stood, fuming at the table, a disgusted look plastered across her pretty features.
“And father, you really can’t expect me to marry him can you?” piped up another voice, belonging to the other woman who sat at the table. “I need a husband who will be a husband, not a beast who isn’t even close to being a man.”
“And that,” Alfred said, tugging again on Ivan’s sleeve, “is my younger older sister…” Alfred said, nodding towards the other woman who wore a scandalously low cut dress and had a mess of auburn hair piled upon her head.
Ivan sighed. There was no way these woman would be able to accept him. He would much rather marry someone like Alfred.
“Daughters please!” Francis pleaded, silent up until now, “This man has helped us out so very kindly and generously, and this is his reward for allowing us to have something on the table to eat and fine clothes for you to wear!”
“I really don’t care father,” the elder daughter said. “That man is disgusting. He looks like he’s been cursed and he smells like he hasn’t bathed in years!”
“And really father, how do you expect us to live and keep a man like that happy! He’s more beast than man, it looks like to me, and I so dislike a cold bed at night!” the younger daughter said with a sneer.
Ivan sighed again, moving to turn around. He didn’t need a wife. In three more years he would have all the company he would ever want. He would be rich, live in a grand mansion and most of all he would be clean.
“I’ll marry Ivan!” came a loud voice to Ivan’s left.
Everyone in the room seemed to hone in on Alfred as soon as the words left his mouth. “Dearest, you cannot do that!” Francis said, “Mr. Ivan needs a wife not a…” he started but was cut off by Ivan’s gruff growl.
“I accept,” Ivan said, before leaving the family standing in the kitchen, completely dumbfounded.
--
Ivan walked back to his room humming a cheerful tune. For the first time in months he felt happy. His burden felt light and the bear skin tied to his back felt like air. Everything had worked out better than planned. He would be able to marry Alfred instead of one of his bothersome sisters.
He turned slightly after hearing the soft pitter patter of feet behind him. He then felt a small hand tug at the bear skin on his back. “Uhhh… Ivan?” Alfred asked, “You’re not mad at me are you?”
Ivan smiled, crouching down to the boy’s height, “No, of course not, actually I’m very happy I get to wed someone like you!”
“But I’m just a brat! That’s what my sisters always say and I don’t want to listen to them, but I can’t help it! I wanna be able to grow up big and strong so I can support my whole family especially my brother!” Alfred said.
“Your brother?” Ivan asked. He had been under the impression that Alfred only had two sisters.
“Yeah, his name is Matthew. Do you wanna meet him?” Alfred asked. “We have to be real quiet cause he’s always real sick and sleeps a lot.”
Ivan nodded and let the boy pull him towards a door at the end of the corridor. “Daddy is always sad that Mattie’s sick. He blames me and my momma,” Alfred began.
“ But I don’t think it’s her fault. You see, me and Mattie are twins, but I’m the only one that came out healthy. Daddy says originally we was both gonna die, but momma made a deal with this strange man saying she’d trade her life for ours. Daddy didn’t want her to, but she did anyways. I came out okay but Mattie always looks like he’s gonna die. That’s why Daddy is always trying to spend money to make more money so that he can get medicine for Mattie,” Alfred said, looking downcast.
“It’s cause Mattie looks just like momma,” Alfred said, finishing his story as the pair stood outside the door.
Ivan briefly wondered if the strange man Alfred’s mother had made a deal with was the same strange man he had made a deal with. He then slowly looped am arm around the boy’s shoulders and pulled the child close. “If you do not wish for me to see him, we can go somewhere else,” Ivan said, at seeing how uncomfortable the boy looked.
“Do you mind?” Alfred said, still leaning against the older man. “We can go outside instead.”
Ivan smiled as he followed the boy outside. He sat down in the lush grass and watched as Alfred ran around for a few seconds and then laid out next to him. Ivan blushed at the proximity. It was amazing to him that a boy like Alfred had the courage to marry someone like him. “Why do you want to marry me?” Ivan asked, causing the blonde boy to roll over to stare at him.
“Because….” Alfred began, pausing for a few seconds. Ivan just stared at him. That perfect golden hair, eyes the color of the sky, pale skin with a splash of freckles across the nose. He was too perfect. “Ummm… because,” Alfred finished.
“Articulate,” Ivan said with a smirk.
“Shut up!” Alfred whined, “It’s more than that really. I wanted to help… to be a hero. I’m such a burden, and I know my sisters didn’t want to marry you and I didn’t want them to go through with something they didn’t want to do. And I like you. Your… nice. Kinda weird, but nice. And you have pretty eyes!”
Ivan sighed. This boy, Alfred, was more amazing than he would have though. Overbearing, and too enthusiastic at times, but he had a good heart, even if he was an idiot. “You’re an idiot you know that?” Ivan said, “Are you really okay with marrying a complete stranger just because he had nice eyes?”
“So tell me about yourself!” Alfred chirped.
So Ivan did.
Ivan’s stories carried on long into the day, the sun moving from high in the sky to hiding below the trees. They only stopped once, when Alfred brought them dinner. Ivan told the boy about his past, his sisters, the man in the green jacket and the curse he had been placed under. And when he finished telling Alfred about these things, he began telling the boy old stories his sister had told him. Tales of princesses and kings, curses and sorcerers. He spoke until the boy drifted off, and then he spoke no more, only moving to carry the boy to bed.
--
Ivan spent the winter at Francis’s home. He worked, shoveled, cleaned. Anything that needed done he did. He watched as Alfred grew another inch. He watched as Alfred’s sisters shunned him for befriending Ivan. He watched as Francis would slip into Matthew’s room and then slip back out, leaving for days at a time. And for the first time, Ivan was not cold, even though the outside world was covered in ice.
However, spring soon came and Ivan knew he had to make his way back to where he had first made his deal with the man in the green coat.
--
Ivan stood in front of the door. He knew he had to leave, yet it was bittersweet. “Why must you go?” Alfred whined, clinging to Ivan’s side, ignoring the fact that he was making a scene in front of his sisters and his father.
“Listen to me,” Ivan said. Bending down slightly to look Alfred in the eyes. “I will return in three years, to marry you, alright?”
“S’not fair…” Alfred pouted, tears gathering in his eyes.
“Come now Alfred, you say you always want to be the hero, so be the hero!” Ivan said, trying his best to sound reassuring.
“M’kay,” Alfred mumbled.
“I will see you in three years, Fredka. Do not forget,” Ivan said as he walked out of the house.
Alfred watched with sad eyes as Ivan left the house.
“I can’t believe you’re actually going to wait for him!” came a snide voice, a voice that could only belong to his older sister.
“Really Alfred, why would you throw your life away and marry someone who doesn’t even want to stay with you hmmm?” his younger sister chimed in.
“Shut up! The only reason he has to leave is so he can go see the man in the green coat!” Alfred shouted before dashing away.
His sisters only laughed, but his father immediately ripped the door open and ran after Ivan.
--
“Ivan! IVAN! WAIT!”
Ivan stopped and turned slightly at the sound of his name, surprised to find Francis running over to him.
“You…ha….you said,” Francis panted, out of breath, “that you were going to see the man in the green coat right?!” he practically yelled, “if… ha…. So, I need you to give him this!”
With that, Francis pulled out a yellowed looking letter from his waistcoat. “I’ve been looking for this man for…ha… almost fourteen years now, so please… please make sure he gets it!”
Ivan nodded, taking the letter from Francis. He remembered the story Alfred had told him about him and his twin. He now knew that finding the spot he had almost died in all those years ago now bore more importance. He wasn’t the only one that had been cursed by the man in the green coat.
--
Ivan returned to his old routine after leaving Francis’s home. He stayed away from villages and only traveled at night.
He thought of Alfred often. He dreamed of what their life would be like once he was normal. He thought endlessly about what if would be like to be accepted into society. He wondered what it would be like to stand at Alfred’s side, to touch him, to hold him, make sweet love to him. They would be able to move somewhere warm, live together without the bothers of his sisters. Perhaps he would even buy medicine to cure Matthew, if it would make his sunshine happy.
Finally after many months of traveling, he arrived back at the spot where he had first met the man in the green coat.
--
Ivan waited for many days until the man arrived. He seemed to just materialize out of the mist, or perhaps grow out of the frost covered ground. “Ah! So you did come!” the man said, sauntering over to where Ivan sat.
Ivan just nodded. All he wanted was for this to be over so that he could return to Alfred. “Yes. I am ready for you to fulfill your part of the bargain,” Ivan said, a menacing smile on his face.
“Really now? So impatient? Do you have someone you need to get back to? But then again, who would ever want a disgusting monster like you?” the man in the green coat said, his eyes narrowing and a wicked pointed smile gracing his lips.
Ivan just smirked. He thought of clear blue eyes and blonde hair and how Alfred would look when he returned.
“Ahhh…” the man said, “So even you have found someone! But I thinks that I could find you someone better!” he mused, “If so you would be willing to make another bet with me?”
“I do not think so,” Ivan said, his voice rough, “However, I do have something for you,” he said pulling out the letter Francis had given him. “It’s from Francis Bonnefoy.”
The green eyed man just smiled wider than Ivan thought was physically possible, ripping the letter from Ivan’s hands, before savagely tearing it open. He smirked that began to read it out loud.
“It was all a mistake and now I wish to correct it. My wife gave her soul to you for one son, so now I wish to give my soul to you for the other.”
“Ha!” the man said, a wheezy, cruel sounding laughter coming out of his mouth, “Francis, Francis, Francis. You had to have known that you would be seeing me either way! But I suppose this does get your boy off the hook!” With a small flare of green light, the letter caught afire. Ivan could only watch as the man dropped the thing to the ground and pulled out a small leather bound volume and scratched something down.
“November twelfth. Consider the exchange made Mr. Francois “Francis” Jean Bonnefoy!” he said with another laugh before snapping the book closed.
“And now for you!,” the man muttered. “What had I promised you?”
“No,” Ivan said, effectively cutting the man off. After what he had seen, he figured the only way to deal with this man was to match his cruelness “I will be making the rules now. First you will clean me. Second, I wish for God to know nothing of my dealings with the likes of you. Third, I wish to keep the purse and finally, you will deliver on your promise. All the riches I could desire.”
The man smirked, his cat like green eyes glinting. “Fair enough, a promise is a promise.”
--
The first thing Ivan did was march straight into the nearest town. He marched down those streets like a man who had just been freed from years of slavery. He bought himself the finest clothes he could find, as well as a magnificent horse. After eating a good meal, he began to make his way towards the place he had left Alfred.
He traveled for many days, staying in tows along the way, always able to find accommodations. It shocked him slightly at first, how people were so receptive and welcoming to him. However, he could still flash them a cruel smile and they would scatter like cockroaches.
The days he traveled quickly turned into months and those months quickly turned into years. Before he knew it, the three years had passed, and then four, and then five and he still had yet to return to Alfred. He knew he was close, only a few more weeks of travel and then he would be in Alfred’s village and would be able to claim the man as his own.
However, merciless thoughts plagued his head. What if Alfred had found another? What if he had gotten injured, or even killed in the time he had been away? What if he wasn’t the same person he left behind all those years ago? No. No! He had to stop thinking like that. Everything would be fine once he reached Alfred.
I am delurking! Bwhahahahahaha!!!!!! I hope you enjoy this! holyshit its long....
Once upon a time in a far away land lived a man. This man was poor, naught but a peasant and was often avoided because of his intimidating size and poor relationship skills. The man had two sisters. An older one who cared for him, and a younger one, who was strange in more ways than one. The man lived for many years with his sisters, for they had no parents. However, when the man turned fifteen, his life began to change in a most horrible way.
---
Ivan sighed, his fingers aching and his back hurting from the grave he had just filled in. He felt tears prickle his eyes as he placed a large stone at the head of the grave, making the place where his younger sister was now buried.
His elder sister did not even know of their younger sisters passing. She was instead away with her tyrant husband who did not let her see her siblings. Ivan hadn’t seen her in almost a year. The man she had wed had been of high status and very wealthy but was nothing but a greedy bastard with no respect for anyone but himself.
Ivan sighed as he picked up his shovel and walked further in the woods. He had nowhere to go now. His youngest sister was dead, his eldest was barred from seeing his to an extent that she might as well be dead too. He had no money, for he had sold their home in order to pay for treatment for his younger sister.
He sighed again, walking further down the dark path into the thick woods. Natalya had always been strange. She had grown up bitter and full of hatred. Ivan had did his best to show her kindness which only led to her becoming infatuated with him. She had gone completely crazy by the time she turned twelve, insisting that he marry her. She had thrown knives at him and their older sister Katyusha and had gone so far as to poison all the food in the house.
Natalya only got worse when Katyusha left. She threw fits where one minute she would be screaming and sobbing and the next she would be laughing. One night when Ivan came home from his job he found Natalya sitting in the middle of the kitchen, covered in blood. Surrounding her were the heads of the three chickens and one pig that he had owned. Ivan had pleaded with her, asking her where the bodies were, for they were the only livestock that he had. She had only replied that the animals had to die because they were going to take Ivan away from her, just like they had taken Katyusha.
It was after that incident that Ivan had sought out the doctor. He sold their small house, needing the money to pay the man, and had walked into town, Natalya in tow. The doctor however proclaimed her to be mad, insisting that she accompany him to the insane asylum that was in one of the large cities. Upon hearing that, Natalya had went into a rage, throwing things, destroying the doctor’s office and screaming in panic, anger and fear.
After Ivan had finally calmed her down, he managed to bring her back to their small house, but not after he had arranged for the asylum to pick her up the next morning. When the cart arrived, with the doctor standing next to it along with a few of the guards, Natalya had gone insane. She screamed at Ivan for not loving her anymore. Blamed him for Katyusha’s leaving. Blamed him for not having enough money to support all of them so they could be happy together. Ivan couldn’t help that work was almost impossible to find. He couldn’t help that Katyusha wanted a better life than the one she had shared with them. He couldn’t help that he only loved her as a sister. He had told Natalya this, which prompted her to grab one of the knives off the table and plunge it into her breast, all the while screaming, “Brother, brother, let’s get married, married, married!”
Ivan shuttered at the memory. He tried his hardest not to blame Natalya, but it was difficult. Because of her, he no longer had a home. He was shunned by the villagers and now only had the clothes on his back, the dirt in his pockets and the shovel on his shoulder.
Ivan glanced up at the sky. He needed to find a place to sleep for the night. He finally settled on a large overhang. He pulled his coat around him tighter. He was thankful he had the long, thick scarf Katyusha had made him. It was almost winter and the air was definitely getting much, much colder.
When Ivan awoke, his face was caked in frost, his clothes were wet and his stomach was empty. Slowly he got up and began walking to the next town over in hopes of being able to find a meal. If worse came to worse, he could always sell his clothes and his shovel for something to eat.
--
When Ivan arrived in town people avoided him like the plague. He could understand why. He was large, over six feet tall and moved like a ghost. His skin and hair was pale. His strangely colored eyes were void of all emotion. Most people thought him to be some type of freak or perhaps a cursed man.
He wandered throughout the small market in the center of town, staring at the vegetables and breads. He missed the days when Natalya had been less ill and Katyusha had made them borscht. Ivan could feel himself reach for a particularly delicious loaf of rye bread when he felt something smack down hard on his hand.
“Are you able to pay for that?” came a voice. Ivan looked up, peering into the face of the vendor.
“Yes…” he trailed of, smiling sweetly.
The vendor cringed. “That’s 6 pieces of bronze for that bread boy,” he said, trying his best to stay cool under Ivan’s gaze.
“That seems expensive,” Ivan said, still smiling, even though his eyes were burning holes in the man’s face. Ivan wanted that bread.
“These are hard times you know….” The vendor replied, visibly shaken by Ivan’s presence and the dark aura that seemed to radiating off of him in waves.
“I am aware, but surely you could make an exception,” Ivan said.
The vendor blinked. This man had to be cursed! “Yes, but only for you. I will give it to you for 4 pieces of bronze.”
Ivan shook his head slowly. “These times have been hitting me especially hard. Could you not make more of an exception?” Ivan asked, his eyes narrowing to almost slits, even though his smile remained in place.
“I will give you two loaves of bread and a piece of cured meat in exchange for that shovel!” the vendor said quickly, praying that the man would just leave. Even though the man could not be older than sixteen, he had an evil, menacing presence of someone who had done something very, very bad.
Ivan pondered this. He did not want to sell his shovel. It was the only weapon he had. However it would be better to sell his shovel than his clothes and he needed the food. It also seemed like the man was offering him a good deal. Two loaves of bread and a hunk of meat could feed him until he was able to find some work.
“That sounds like a good deal,” Ivan said, holding out his battered shovel.
The vendor nodded giving over the loaves of bread and the hunk of meat. He even tossed in a small chunk of honey comb, praying the pale haired boy would not curse him.
--
Ivan sat in the woods, satisfied with the food he had purchased. He had even been able to find a little bit of work, moving chunks of stone, over at the church and had been paid 8 bronze pieces. A good start, but still nowhere near enough for any type of accommodation. That was okay though, because Ivan didn’t mind sleeping in the woods. It was peaceful and there were no people there to bother him.
Halfway through the night, though, Ivan jolted awake, startled by a noise. If it was a wolf he would climb a tree. If it was a bear he would run. Anything else he could handle.
Ivan jumped slightly when he heard another noise. He wished he had not let his fire die out. Then he heard voices. Humans. He could deal with humans. He reached around, groggily searching for his shovel. He let out a low groan as he realized that he had sold it earlier that day. He glanced around, wishing he had something to fight with.
“What do we have here?”
“Looks like that brat who was in the market today, messing with father’s stand.”
“I think we should teach him a lesson don’t you?”
“I think that you’re right.”
--
Ivan tried to open his eyes, the sun finally getting in a making him wish that he had just left them closed. Everything hurt. He was sure that one of his arms was broken, as well as his hand. He blindly felt his face with his good had, wincing when he made contact. It was puffy and bleeding. His ass hurt, as well as his lower back. He tried his best to ignore the pain and figure out where all of his stuff was. He looked around, noticing that his money and coat were both gone as well as his food. He let out a sharp cry as he saw his scarf, flung into the ashes of the fire.
He scrambled for the scarf, ignoring the symphony of pain. He had nothing now. He had no money, no food, no shelter and only his tattered and blood soaked pants and his ripped shirt to keep him warm. Slowly he got up and began walking into the forest.
‘There is no way I would be able to afford a doctor,” he thought, ‘so I might as well die in peace.’
After walking as far as he could for the day he slumped against a tree with a dull thud. He looked out upon the forest. He lay in a small circle of trees. All the leaves were almost gone and there was a light dusting of snow on the ground. It was not beautiful, but it was adequate. He would have preferred to die in a place that was warm, surrounded by flowers, to have his sisters there, singing songs of peace for him. To have a proper funeral, instead of dying in the forest like a dog.
Ivan slowly began to close his eyes. Soon the cold would take him. Perhaps when he met his sister again she would be healed and they could stay by each other for the rest of time.
“Oi, you there? What do you think you’re doing?”
Ivan’s swollen eyes blinked open. In front of him stood a short man, probably no taller than five and a half feet. He had choppy blonde hair and large dark eyebrows that seemed out of place on his pointed, attractive face. The most curious thing about him however was his eyes. They glowed a bright green in the twilight and instead of pupils he had slits. Like a cat.
His dress was also particular. Even though it was snowing the man wore no hat or scarf, but instead a green and gray suit that nobles would wear. The arms however were slightly long and the pants were faded and baggy. Over these he wore a vivid, elaborately embroidered, expensive looking green coat.
The clothes looked like they had been stolen off a corpse.
Floating around the man’s head were a few odd lights that seemed to flicker and spin. Ivan squinted, wondering if the man was just a figment of his imagination and injuries.
“What do you want?” Ivan asked, “Can’t you just leave me here to die. Or are you here to collect me?”
“NO I most certainly am not!” the man said, his face scrunching up like that of an old woman.
“Then what do you want?” Ivan asked, noticing that the man had a strange sort of accent. It wasn’t like the accents he had heard from people from his country, or those of the few southern foreigners he had seen. The man’s accent seemed odd and forced, as if he were trying to sound more normal than he actually was.
“The question isn’t what I want, it’s what you want,” the man said, his green eyes glinting silver.
“I want to die,” Ivan said, “I have no money, no food, and cannot work in this state.”
“Ah,” the man said, “but I can fix that, you see. I will give you all of that.”
Ivan stared. He knew this man, this thing, was not to be trusted. There was no way the man was to be trusted, and other worldly creatures in general liked to abuse and torture humans just for the fun of it. Just to show off their power. They were known for giving endless riches that turned to ash, or granting everlasting beauty and then taking away the sight of the one they loved.
“What do you want in return?” Ivan asked. He had nothing to lose.
“If you wish for me to only heal your wounds, it will cost you your left eye.” The man said.
Ivan frowned. He didn’t want to lose an eye. No one would hire a man who was half blind.
“ However, I am interested in having some fun with you. I will heal you wounds and I will also give you a coin purse. This coin purse, once empty, will refill itself to the brim. As for your clothes, I will give you a dagger, which you will go into the woods with and kill a bear. Skin the bear and wear the pelt. However, you are not allowed to take the pelt off, nor cut your hair, bathe, or pray for seven years. When seven years are up, return to this place and I will give you all the riches you could want and you will be free from the pelt and will be able to bathe, pray and cut your hair again. But, if you die during that time, or try to take the pelt off, your soul will be stolen and will belong to me,” the man said, leaning close.
“I…I…” Ivan stuttered. Seven years was such a long time, but he would have money. He could buy himself a house and live freely. The choice was easy.
“I accept your offer. I will take the dagger and kill the bear and wear the pelt,” he said. “Now heal my wounds.”
The man smiled, a flash of green erupting from his palm. The final things Ivan noticed before he drifted into unconsciousness was that the man had pointed teeth and cloven feet.
--
When Ivan opened his eyes, he noticed he was no longer felt any pain. To the left of him lay a fine silver dagger, and to the right of him lay a fine velvet purse. He tied the purse around his waist and set out into the woods to slay a bear.
After slaying the bear, which turned out to be a much easier task than expected, he donned the pelt. He wrapped the skin around himself, tying it in place with strips of his ruined shirt. He then decided to begin walking.
--
The first year passed without any trouble. He was able to buy beautiful accommodations at the towns he stayed in and was also able to purchase lavish food and sometimes even scandalous company. He even paid priests and beggars alike to pray for him, since he could not do it for himself.
The second year found his life much harder. He would no longer venture into towns during the day, instead opting to go in only at night. His once handsome face was now caked with dirt and grime so thick, it looked as if he had no true skin. His hair had grown long and ratty and he had grown a beard. His finger nails now resembled claws and his bear pelt now looked like it was actually a part of him versus a garment.
The third year was harder still. He no longer went into town unless absolutely necessary. When he did venture into town, he had to pay outrageous prices for lodging and was forced to stay out of site. He contemplated killing himself many times but would then remember the deal he had made with the man in the woods.
During Ivan’s fourth year of virtual imprisonment, he stumbled into a small town, late in the evening, drunk out of his mind. He paid the innkeeper handsomely for a room, under the conditions that he stay out of site and leave before first light. Ivan, too sloshed to do anything but agree, nodded.
He began to stumble up the stairs when he heard crying from a small table in the corner of the inn. Curious, he walked over. He found a man, sitting hunched over the table, nursing a bottle of vodka. At least this sobbing man had good taste.
Ivan sat down with a thud next to the man who still had yet to notice the bear-man was there. “Are you alright?” Ivan asked, trying his best to smile though the beard and dirt that caked his face.
The man looked over and jumped slightly. “What… what are you?” he asked, inching away from Ivan slowly.
“I am a man who just wants to be helping you!” Ivan chirped, all of his common sense banished from the sheer amount of alcohol in his system.
“Leave me alone you cursed man!” the man said, “I need no more misfortune in my life!”
Ivan just laughed, causing the man, along with the innkeeper to stare fearfully at him. “What is your name?” he asked, leaning close to the man.
“Francis,” the man said, still inching away from Ivan.
“And why are you so upset?” Ivan asked with a smile that could scare the devil himself.
“I’ve lost all of my money. Had it taken away from me,” Francis said.
“If you lost it I’m sure it can’t be that hard to fiiiiinnnnddddd…” Ivan sing-songed.
“I made a bet with this group of swindlers and I lost!” Francis just about shouted, “And now I fear losing my home!”
“I can help!” Ivan said, reaching into his purse and scooping out handful after handful of gold and giving it to the man.
Francis eyed Ivan, not knowing whether to trust him or not. He finally decided to take the money offered to him, but knew there had to be something he could do for the bear man in return. “Please,” he said, “come back to my estate with me. I have two beautiful daughters there and you may choose which one you wish to marry!” Francis said.
Ivan nodded, eager to be able to sleep in a real bed without knowing he would be kicked out early the next day. “I would be happy to!” he said with a gleeful giggle.
Francis nodded, trying his best to hide his cringe, as he continued shoveling the gold into his coat. He then made his way out of the inn, Ivan in tow.
--
Ivan’s mouth dropped open when they reached the estate that belonged to the “broke” Francis. The mansion was on the outskirts of town, surrounded by sprawling gardens and large, stately trees. However, when Ivan looked closer, he saw some tell tale things that proved Francis was only feigning wealth. The gardens had not been weeded. The grass was untrimmed. The beautiful house had peeling paint and cracked windows. However, from far away, it still looked to be in perfect condition.
They entered the house quietly through the kitchen. Ivan was not surprised to see that there were no servants, nor was there any food out on the counters. Francis truly was broke. The pair made their way up the stairs, where Francis showed Ivan his room. He would meet Francis’s daughters in the morning.
Ivan went to sleep feeling giddy. He had so longed for the touch of another human being, yet it was something that was almost impossible for him to come by in his current state. He was slightly put off by the fact that he would be wed to a woman, but knew there was nothing he could do since his preference was sinful one.
He fell asleep dreaming of warm lands and a life without the outer appearance that bound him.
--
So the original post was too long... so this is gonna be quite a few parts.
In the next chapter we meet Alfred!
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https://en.wikipedia.org/wiki/French_poetry
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French
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Poetry written in French
French poetry (French: Poésie française) is a category of French literature. It may include Francophone poetry composed outside France and poetry written in other languages of France.
The modern French language does not have a significant stress accent (as English does) or long and short syllables (as Latin does). This means that the French metric line is generally not determined by the number of beats, but by the number of syllables (see syllabic verse; in the Renaissance, there was a brief attempt to develop a French poetics based on long and short syllables [see "musique mesurée"]). The most common metric lengths are the ten-syllable line (decasyllable), the eight-syllable line (octosyllable) and the twelve-syllable line (the so-called "alexandrin").
In traditional French poetry, all permissible liaisons are made between words. Furthermore, unlike modern spoken French (at least in the north of France), a silent or mute 'e' counts as a syllable before a consonant and is pronounced, but is elided before a vowel (where "h aspiré" counts as a consonant). When it falls at the end of a line, the mute "e" is hypermetrical (outside the count of syllables). (For more on pronunciation of French, see French phonology).
The ten-syllable and 12-syllable lines are generally marked by a regular syntactical pause, called a "césure" (cesura):
The ten-syllable line is often broken into syntactical groups as 5-5, 4-6, or 6-4.
The alexandrine is broken into two six-syllable groups; each six-syllable group is called a "hémistiche".
In traditional poetry, the césure cannot occur between two words that are syntactically linked (such as a subject and its verb), nor can it occur after an unelided mute e. (For more on poetic meter, see Poetic meter.)
For example:
Je fais souvent ce rêve étrange et pénétrant
d'une femme inconnue et que j'aime et qui m'aime...
(Paul Verlaine, "Mon rêve familier", from Poèmes saturniens)
The verses are alexandrines (12 syllables). The mute e in "d'une" is pronounced and is counted in the syllables (whereas the mute e's at the end of "rêve", "étrange", "femme" and "j'aime"—which are followed by vowels—are elided and hypermetrical); the mute e at the end of "qui m'aime" is hypermetrical (this is a so-called "feminine rhyme"). No word occurs across the sixth to seventh syllable in both lines, thus creating the cesura.
The rules of classical French poetry (from the late 16th to the 18th century) also put forward the following:
the encounter of two unelided and awkward vowel sounds ("hiatus") -- such as "il a à"—was to be avoided;
the alternance of masculine and feminine rhymes (a feminine rhyme ends in a mute e) was mandated;
rhymes based on words that rhymed, but that—in their spellings—had dissimilar endings (such as a plural in s or x and a singular word) were prohibited (this was the "rhyme for the eye" rule);
a word could not be made to rhyme with itself;
in general, "enjambement" (in which the syntax of a sentence does not finish at the end of a line, but continues on into the next verse) was to be avoided.
For more on rhymes in French poetry, see Rhyme in French.
Poetic forms developed by medieval French poets include:
Ballade
Rondeau (or Rondel)
Ditié
Dits moraux
Blason
Lai
Virelai
Pastourelle
Complainte
Chanson
Chanson de toile ("weaving song")
Chanson de croisade
Chanson courtoise
Rotrouenge
Chant royal
Aube ("dawn poem")
Jeu parti
Other poetic forms found in French poetry:
Villanelle
Virelai nouveau
Sonnet
Bref double
Ode
Main article: Medieval French literature
As is the case in other literary traditions, poetry is the earliest French literature; the development of prose as a literary form was a late phenomenon (in the late Middle Ages, many of the romances and epics initially written in verse were converted into prose versions). In the medieval period, the choice of verse form was generally dictated by the genre: the Old French epics ("chanson de geste", like the anonymous Song of Roland, regarded by some as the national epic of France) were usually written in ten-syllable assonanced "laisses" (blocks of varying length of assonanced lines), while the chivalric romances ("roman", such as the tales of King Arthur written by Chrétien de Troyes) were usually written in octosyllabic rhymed couplets.
Medieval French lyric poetry was indebted to the poetic and cultural traditions in Southern France and Provence—including Toulouse, Poitiers, and the Aquitaine region—where "langue d'oc" was spoken (Occitan language); in their turn, the Provençal poets were greatly influenced by poetic traditions from the Hispano-Arab world. The Occitan or Provençal poets were called troubadours, from the word "trobar" (to find, to invent). Lyric poets in Old French are called "trouvères", using the Old French version of the word (for more information on the "trouvères", their poetic forms, extant works and their social status, see the article of that name). The occitan troubadours were amazingly creative in the development of verse forms and poetic genres, but their greatest impact on medieval literature was perhaps in their elaboration of complex code of love and service called "fin amors" or, more generally, courtly love. For more information on the troubadour tradition, see Provençal literature.
By the late 13th century, the poetic tradition in France had begun to develop in ways that differed significantly from the troubadour poets, both in content and in the use of certain fixed forms. The new poetic (as well as musical: some of the earliest medieval music has lyrics composed in Old French by the earliest composers known by name) tendencies are apparent in the Roman de Fauvel in 1310 and 1314, a satire on abuses in the medieval church filled with medieval motets, lais, rondeaux and other new secular forms of poetry and music (mostly anonymous, but with several pieces by Philippe de Vitry who would coin the expression Ars nova [new art, or new technique] to distinguish the new musical practice from the music of the immediately preceding age). The best-known poet and composer of ars nova secular music and chansons was Guillaume de Machaut. (For more on music, see medieval music ; for more on music in the period after Machaux, see Renaissance music).
French poetry continued to evolve in the 15th century. Charles, duc d'Orléans was a noble and head of one of the most powerful families in France during the Hundred Years' War. Captured in the Battle of Agincourt, he was a prisoner of the English from 1415–1441 and his ballades often speak of loss and isolation. Christine de Pisan was one of the most prolific writers of her age; her "Cité des Dames" is considered a kind of "feminist manifesto". François Villon was a student and vagabond whose two poetic "testaments" or "wills" are celebrated for their portrayal of the urban and university environment of Paris and their scabrous wit, satire and verbal puns. The image of Villon as vagabond poet seems to have gained almost mythic status in the 16th century, and this figure would be championed by poetic rebels of the 19th century and 20th centuries (see Poète maudit).
Main article: French Renaissance literature
Poetry in the first years of the 16th century is characterised by the elaborate sonorous and graphic experimentation and skillful word games of a number of Northern poets (such as Jean Lemaire de Belges and Jean Molinet), generally called "les Grands Rhétoriqueurs" who continued to develop poetic techniques from the previous century. Soon however, the impact of Petrarch (the sonnet cycle addressed to an idealised lover, the use of amorous paradoxes), Italian poets in the French court (like Luigi Alamanni), Italian Neo-platonism and humanism, and the rediscovery of certain Greek poets (such as Pindar and Anacreon) would profoundly modify the French tradition. In this respect, the French poets Clément Marot and Mellin de Saint-Gelais are transitional figures: they are credited with some of the first sonnets in French, but their poems continue to employ many of the traditional forms.
The new direction of poetry is fully apparent in the work of the humanist Jacques Peletier du Mans. In 1541, he published the first French translation of Horace's "Ars poetica" and in 1547 he published a collection of poems "Œuvres poétiques", which included translations from the first two cantos of Homer's Odyssey and the first book of Virgil's Georgics, twelve Petrarchian sonnets, three Horacian odes and a Martial-like epigram; this poetry collection also included the first published poems of Joachim Du Bellay and Pierre de Ronsard.
Around Ronsard, Du Bellay and Jean Antoine de Baïf there formed a group of radical young noble poets of the court (generally known today as La Pléiade, although use of this term is debated). The character of their literary program was given in Du Bellay's manifesto, the "Defense and Illustration of the French Language" (1549) which maintained that French (like the Tuscan of Petrarch and Dante) was a worthy language for literary expression and which promulgated a program of linguistic and literary production (including the imitation of Latin and Greek genres) and purification. For some of the members of the Pléiade, the act of the poetry itself was seen as a form of divine inspiration (see Pontus de Tyard for example), a possession by the muses akin to romantic passion, prophetic fervor or alcoholic delirium.
The forms that dominate the poetic production of the period are the Petrarchian sonnet cycle (developed around an amorous encounter or an idealized woman) and the Horace/Anacreon ode (especially of the "carpe diem" - life is short, seize the day - variety). Ronsard also tried early on to adapt the Pindaric ode into French. Throughout the period, the use of mythology is frequent, but so too is a depiction of the natural world (woods, rivers). Other genres include the paradoxical encomium (such as Remy Belleau's poem praising the oyster), the "blason" of the female body (a poetic description of a body part), and propagandistic verse.
Several poets of the period—Jean Antoine de Baïf (who founded an "Académie de Poésie et Musique" in 1570), Blaise de Vigenère and others—attempted to adapt into French the Latin, Greek or Hebrew poetic meters; these experiments were called "vers mesurés" and "prose mesuré" (for more, see the article "musique mesurée").
Although the royal court was the center of much of the century's poetry, Lyon – the second largest city in France in the Renaissance – also had its poets and humanists, most notably Maurice Scève, Louise Labé, Pernette du Guillet, Olivier de Magny and Pontus de Tyard. Scève's Délie, objet de plus haulte vertu - composed of 449 ten syllable ten line poems (dizains) and published with numerous engraved emblems - is exemplary in its use of amorous paradoxes and (often obscure) allegory to describe the suffering of a lover.
Poetry at the end of the century was profoundly marked by the civil wars: pessimism, dourness and a call for retreat from the world predominate (as in Jean de Sponde). However, the horrors of the war were also to inspire one Protestant poet, Agrippa d'Aubigné, to write a brilliant poem on the conflict:Les Tragiques.
Because of the new conception of "l'honnête homme" or "the honest or upright man", poetry became one of the principal modes of literary production of noble gentlemen and of non-noble professional writers in their patronage in the 17th century.
Poetry was used for all purposes. A great deal of 17th- and 18th-century poetry was "occasional", written to celebrate a particular event (a marriage, birth, military victory) or to solemnize a tragic occurrence (a death, military defeat), and this kind of poetry was frequent with gentlemen in the service of a noble or the king. Poetry was the chief form of 17th century theater: the vast majority of scripted plays were written in verse (see "Theater" below). Poetry was used in satires (Nicolas Boileau-Despréaux is famous for his "Satires" (1666)) and in epics (inspired by the Renaissance epic tradition and by Tasso) like Jean Chapelain's La Pucelle.
Although French poetry during the reign of Henri IV and Louis XIII was still largely inspired by the poets of the late Valois court, some of their excesses and poetic liberties found censure, especially in the work of François de Malherbe who criticized La Pléiade's and Philippe Desportes's irregularities of meter or form (the suppression of the cesura by a hiatus, sentences clauses spilling over into the next line "enjambement", neologisms constructed from Greek words, etc.). The later 17th century would see Malherbe as the grandfather of poetic classicism.
Poetry came to be a part of the social games in noble salons (see "salons" above), where epigrams, satirical verse, and poetic descriptions were all common (the most famous example is "La Guirlande de Julie" (1641) at the Hôtel de Rambouillet, a collection of floral poems written by the salon members for the birthday of the host's daughter). The linguistic aspects of the phenomenon associated with the "précieuses" (similar to Euphuism in England, Gongorism in Spain and Marinism in Italy) -- the use of highly metaphorical (sometimes obscure) language, the purification of socially unacceptable vocabulary—was tied to this poetic salon spirit and would have an enormous impact on French poetic and courtly language. Although "préciosité" was often mocked (especially in the later 1660s when the phenomenon had spread to the provinces) for its linguistic and romantic excesses (often linked to a misogynistic disdain for intellectual women), the French language and social manners of the 17th century were permanently changed by it.
From the 1660s, three poets stand out. Jean de La Fontaine gained enormous celebrity through his Aesop inspired "Fables" (1668–1693) which were written in an irregular verse form (different meter lengths are used in a poem). Jean Racine was seen as the greatest tragedy writer of his age. Finally, Nicolas Boileau-Despréaux became the theorizer of poetic classicism: his "Art poétique" (1674) praised reason and logic (Boileau elevated Malherbe as the first of the rational poets), believability, moral usefulness and moral correctness; it elevated tragedy and the poetic epic as the great genres and recommended imitation of the poets of antiquity.
"Classicism" in poetry would dominate until the pre-romantics and the French Revolution.
From a technical point of view, the poetic production from the late 17th century on increasingly relied on stanza forms incorporating rhymed couplets, and by the 18th century fixed-form poems – and, in particular, the sonnet – were largely avoided. The resulting versification – less constrained by meter and rhyme patterns than Renaissance poetry – more closely mirrored prose.[1]
French poetry from the first half of the century was dominated by Romanticism, associated with such authors as Victor Hugo, Alphonse de Lamartine, and Gérard de Nerval. The effect of the romantic movement would continue to be felt in the latter half of the century in wildly diverse literary developments, such as "realism", "symbolism", and the so-called fin de siècle "decadent" movement (see below). Victor Hugo was the outstanding genius of the Romantic School and its recognized leader. He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy.
By the middle of the century, an attempt to be objective was made in poetry by the group of writers known as the Parnassians—which included Leconte de Lisle, Théodore de Banville, Catulle Mendès, Sully-Prudhomme, François Coppée, José María de Heredia and (early in his career) Paul Verlaine—who (using Théophile Gautier's notion of art for art's sake and the pursuit of the beautiful) strove for exact and faultless workmanship, and selected exotic and classical subjects which they treated with a rigidity of form and an emotional detachment (elements of which echo the philosophical work of Arthur Schopenhauer whose aesthetic theories would also have an influence on the symbolists).
The naturalist tendency to see life without illusions and to dwell on its more depressing and sordid aspects appears in an intensified degree in the immensely influential poetry of Charles Baudelaire, but with profoundly romantic elements derived from the Byronic myth of the anti-hero and the romantic poet.
The poetry of Baudelaire and much of the literature in the latter half of the century (or "fin de siècle") were often characterized as "decadent" for their lurid content or moral vision. In a similar vein, Paul Verlaine used the expression "poète maudit" ("accursed poet") in 1884 to refer to a number of poets like Tristan Corbière, Stéphane Mallarmé and Arthur Rimbaud who had fought against poetic conventions and suffered social rebuke or had been ignored by the critics. But with the publication of Jean Moréas "Symbolist Manifesto" in 1886, it was the term symbolism which was most often applied to the new literary environment.
The writers Stéphane Mallarmé, Paul Verlaine, Paul Valéry, Joris-Karl Huysmans, Arthur Rimbaud, Jules Laforgue, Jean Moréas, Gustave Kahn, Albert Samain, Jean Lorrain, Remy de Gourmont, Pierre Louÿs, Tristan Corbière, Henri de Régnier, Villiers de l'Isle-Adam, Stuart Merrill, René Ghil, Saint-Pol Roux, Oscar-Vladislas de Milosz, the Belgians Albert Giraud, Emile Verhaeren, Georges Rodenbach and Maurice Maeterlinck and others have been called symbolists, although each author's personal literary project was unique.[2]
From a technical point of view, the Romantics were responsible for a return to (and sometimes a modification of) many of the fixed-form poems used during the 15th and 16th centuries, as well as for the creation of new forms. The sonnet however was little used until the Parnassians brought it back into favor,[3] and the sonnet would subsequently find its most significant practitioner in Charles Baudelaire. The traditional French sonnet form was however significantly modified by Baudelaire, who used 32 different forms of sonnet with non-traditional rhyme patterns to great effect in his Les Fleurs du mal.[4]
Guillaume Apollinaire radicalized the Baudelairian poetic exploration of modern life in evoking planes, the Eiffel Tower and urban wastelands, and he brought poetry into contact with cubism through his "Calligrammes", a form of visual poetry. Inspired by Rimbaud, Paul Claudel used a form of free verse to explore his mystical conversion to Catholicism. Other poets from this period include: Paul Valéry, Max Jacob (a key member of the group around Apollinaire), Pierre Jean Jouve (a follower of Romain Rolland's "Unanism"), Valery Larbaud (a translator of Whitman and friend to Joyce), Victor Segalen (friend to Huysmans and Claudel), Léon-Paul Fargue (who studied with Stéphane Mallarmé and was close to Valéry and Larbaud).
The First World War generated even more radical tendencies. The Dada movement—which began in a café in Switzerland in 1916—came to Paris in 1920, but by 1924 the writers around Paul Éluard, André Breton, Louis Aragon and Robert Desnos—heavily influenced by Sigmund Freud's notion of the unconscious—had modified dada provocation into Surrealism. In writing and in the visual arts, and by using automatic writing, creative games (like the cadavre exquis) and altered states (through alcohol and narcotics), the surrealists tried to reveal the workings of the unconscious mind. The group championed previous writers they saw as radical (Arthur Rimbaud, the Comte de Lautréamont, Baudelaire) and promoted an anti-bourgeois philosophy (particularly with regards to sex and politics) which would later lead most of them to join the communist party. Other writers associated with surrealism include: Jean Cocteau, René Crevel, Jacques Prévert, Jules Supervielle, Benjamin Péret, Philippe Soupault, Pierre Reverdy, Antonin Artaud (who revolutionized theater), Henri Michaux and René Char. The surrealist movement would continue to be a major force in experimental writing and the international art world until the Second World War.
The effects of surrealism would later also be felt among authors who were not strictly speaking part of the movement, such as the poet Alexis Saint-Léger Léger (who wrote under the name Saint-John Perse), the poet Edmond Jabès (who came to France in 1956 when the Jewish population was expelled from his native Egypt) and Georges Bataille. The Swiss writer Blaise Cendrars was close to Apollinaire, Pierre Reverdy, Max Jacob and the artists Chagall and Léger, and his work has similarities with both surrealism and cubism.
Poetry in the post-war period followed a number of interlinked paths, most notably deriving from surrealism (such as with the early work of René Char), or from philosophical and phenomenological concerns stemming from Heidegger, Friedrich Hölderlin, existentialism, the relationship between poetry and the visual arts, and Stéphane Mallarmé's notions of the limits of language. Another important influence was the German poet Paul Celan. Poets concerned with these philosophical/language concerns—especially concentrated around the review "L'Ephémère"—include Yves Bonnefoy, André du Bouchet, Jacques Dupin, Roger Giroux and Philippe Jaccottet. Many of these ideas were also key to the works of Maurice Blanchot. The unique poetry of Francis Ponge exerted a strong influence on a variety of writers (both phenomenologists and those from the group "Tel Quel"). The later poets Claude Royet-Journoud, Anne-Marie Albiach, Emmanuel Hocquard, and to a degree Jean Daive, describe a shift from Heidegger to Ludwig Wittgenstein and a reevaluation of Mallarmé's notion of fiction and theatricality; these poets were also influenced by certain English-language modern poets (such as Ezra Pound, Louis Zukofsky, William Carlos Williams, and George Oppen) along with certain American postmodern and avant garde poets loosely grouped around the language poetry movement.
(includes both trouvères and troubadours)
Arnaut Daniel
Bernart de Ventadorn
Bertran de Born
Folquet de Marselha (Foulques de Toulouse)
Gautier d'Espinal
Gui d'Ussel
William IX of Aquitaine
Guillem de Cabestany
Guiraut de Bornelh
Guiraut Riquier
Jaufré Rudel
Marcabru
Peire Vidal
Raimbaut de Vaqueiras
Raimbaut of Orange
Chrétien de Troyes (fl. 1160s-80s)
Adenet Le Roi (c.1240–c.1300)
Blondel de Nesle (fl c.1175–1210)
Chastelain de Couci (fl c.1170–1203; †1203)
Colin Muset (fl c.1230–60)
Conon de Béthune (fl c.1180–c.1220; †1220)
Gace Brulé (c.1159-after 1212)
Gautier de Coincy (1177/8–1236)
Guiot de Dijon (fl c.1200–30)
Thibaut IV of Champagne (1201–53)
Adam de la Halle (c.1240–88)
Audefroi le Bastart (fl c1200–1230)
Moniot d'Arras (fl c1250–75)
Rutebeuf (d.1285)
Guillaume de Machaut (1300–1377)
Eustache Deschamps (1346-c.1406)
Christine de Pisan (1364–1430)
Charles, duc d'Orléans (1394–1465)
François Villon (1431-1465?)
Jean Lemaire de Belges
Jean Molinet
Clément Marot
Maurice Scève
Pernette Du Guillet
Jacques Peletier du Mans
Mellin de Saint-Gelais
Joachim du Bellay
Pierre de Ronsard
Pontus de Tyard
Jean Antoine de Baïf
Louise Labé
Jean Antoine de Baïf
Remy Belleau
Etienne de La Boétie
Philippe Desportes
Étienne Jodelle
Agrippa d'Aubigné
Nicolas Rapin
Guillaume de Salluste Du Bartas
Jean de Sponde
Frédéric Lamperouge
Jean-Baptiste Chassignet
Marc de Papillon
François de Malherbe (1555–1628)
Honoré d'Urfé (1567–1625)
Jean Ogier de Gombaud (1570?-1666)
Mathurin Régnier (1573–1613) - nephew of Philippe Desportes
François de Maynard (1582–1646)
Honorat de Bueil, seigneur de Racan (1589–1670)
Théophile de Viau (1590–1626)
François le Métel de Boisrobert (1592–1662)
Antoine Gérard de Saint-Amant (1594–1661)
Jean Chapelain (1595–1674)
Vincent Voiture (1597–1648)
Tristan L'Hermite (1601?-1655)
Pierre Corneille (1606–1684)
Paul Scarron (1610–1660)
Isaac de Benserade (1613–1691)
Georges de Brébeuf (1618–1661)
Jean de La Fontaine (1621–1695)
Nicolas Boileau-Despréaux (1636–1711)
Jean Racine (1639–1699)
Guillaume Amfrye de Chaulieu (1639–1720)
Jean-François Regnard (1655–1709)
André Chénier (1762–1794)
Marie-Joseph de Chénier (1764–1811)
Victor Hugo (1802–1885) is generally recognised as the greatest figure in French Romanticism in the 19th century.
Alphonse de Lamartine
Alfred de Vigny
Alfred de Musset
Gérard de Nerval (1808–1855)
Théophile Gautier (1811–1872)
Leconte de Lisle
Théodore de Banville
Catulle Mendès
Sully-Prudhomme
François Coppée
José María de Heredia
Antoinette Henriette Clémence Robert
Charles Baudelaire (1821–1867) With Stéphane Mallarmé and Paul Verlaine, the founder of the Decadents. He also founded the journal Le Salut Public, translated Edgar Allan Poe, and was prosecuted along with the publisher and printer for blasphemy associated with Les Fleurs du mal. He held salons to encourage such painters as Delacroix. Among other poetic forms, he used the pantoum.
Theodore Aubanel (1829–1882) Born into a publishing family (the museum for the publishing house still exists), he is the author of three collections of poetry written in the troubadour tradition, as well as three plays.
Frédéric Mistral (1830–1914) Provençal language poet and Nobel Prize in Literature laureate in 1904. He created the Félibrige movement on May 21, 1854, with Théodore Aubanel, Jean Brunet, Anselme Mathieu, Paul Piera, his teacher Joseph Roumanille, and Alphonse Tavan. He was noted for his promotion of Provençal literature and founded the annual journal Armana Prouvençau. Also founder of a museum of ethnography in Arles.
Stéphane Mallarmé (1842–1898) The originator of the Symbolist movement in France. His Un coup de dés jamais n'abolira le hasard was one of the first to use typography in poetry to create different trains of thought existing simultaneously.
Paul Verlaine (1844–1896) Regarded in his day as the premier poet in France, he published, in addition to his poems, Les Poètes maudits, biographies of poets.
Arthur Rimbaud (1854–1891) was one of the precursors of the Surrealist movement. He wrote many remarkable works, among The Sonnet of the Vowels in which each vowel is assigned a colour.
Jules Laforgue
Jean Moréas
Gustave Kahn
Albert Samain
Tristan Corbière
Henri de Régnier
René Ghil
Saint-Pol Roux
Oscar-Vladislas de Milosz
Albert Giraud
Emile Verhaeren
Georges Rodenbach
Tristan Klingsor (1874–1966)
Maurice Maeterlinck
Paul Valéry (1871–1945)
Paul Claudel - used a form of free verse to explore his mystical conversion to Catholicism.
Guillaume Apollinaire's (1880–1918) first collection of poetry was L'enchanteur pourrissant (1909), but it was Alcools (1913) which established his reputation. These poems, influenced in part by the symbolists, juxtapose the old and the new, using traditional forms and modern imagery.
Max Jacob (a key member of the group around Apollinaire)
Pierre Jean Jouve - a follower of Romain Rolland's "Unanism")
Valery Larbaud - a translator of Whitman and friend to Joyce
Victor Segalen - friend to Huysmans and Claudel
Léon-Paul Fargue
Paul Éluard was a leading exponent of Surrealism.
André Breton
Louis Aragon
Georges Brassens
Robert Desnos
Jacques Prévert's works move between Surrealism and the popular songs of Parisian café culture.
Jean Cocteau
Jules Supervielle
Benjamin Péret
Philippe Soupault
Pierre Reverdy
Henri Michaux
René Char
Saint-John Perse
Edmond Jabès
Yves Bonnefoy
André du Bouchet
Jacques Dupin
Roger Giroux
Boris Vian
Philippe Jaccottet
Francis Ponge
Claude Royet-Journoud
Anne-Marie Albiach
Emmanuel Hocquard
Seyhan Kurt
Jean Daive
Dominique Sorrente
Jean Baudrillard
List of French language poets (alphabetical)
Parnassian poets
Oeuvres poetiques de Thibaut de Champagne in Medieval History of Navarre
The Oxford Book of French Verse
Maurice Allem, ed. Anthologie poétique française. 5 vols. Paris: Garnier-Flammarion, 1965. (in French)
Paul Auster, ed. The Random House Book of Twentieth Century French Poetry. New York: Vintage, 1984.
Henri Bonnard. Notions de style et de versification et d'histoire de la langue française. Paris: SUDEL, 1953. (in French)
John Porter Huston and Mona Tobin Houston, eds., French Symbolist Poetry: An Anthology, Bloomington: Indiana UP, 1980. ISBN 0-253-16725-6
Henri Morier. Dictionnaire de poétique et de rhétorique. Paris: PUF, 1961. (in French)
David Lee Rubin. The Knot of Artifice: A Poetic of the French Lyric in the Early 17th Century. Columbus: The Ohio State University Press, 1981.
David Lee Rubin, ed. La Poésie française du premier 17e siècle: textes et contextes. 1986. Augmented edition [with Robert T. Corum]. Charlottesville: Rookwood Press, 2006. Each poet's texts selected, established, introduced, and annotated by team of major scholars. (in French)
Doranne Fenoaltea and David Lee Rubin, editors. The Ladder of High Designs: Structure and Interpretation of French Lyric Sequences. Charlottesville: University Press of Virginia, 1991.
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The continued progression to higher data rates puts increasing demands on the design of practical SerDes channels. At 112G-PAM4, the UI is only 17.86 ps, and signal transmission in the PCB must be highly optimized for loss, reflections, crosstalk, and power integrity. This article summarizes the key elements of a study that describes the signal-integrity and power-integrity design process and shows simulated SI and PI performance correlated to measured data as well as measured eye diagrams of a test board that uses a 112G-capable silicon and high-speed compression-mount cable connectors.
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Yves Jean Bonnefoy was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was a professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″
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Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian.[1] He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French.[2][1] He was a professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani.[2] The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″[3]
Quick Facts Born, Died ...
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https://en.wikipedia.org/wiki/Yves_Bonnefoy
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French poet, essayist, and translator (1923–2016)
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian.[1] He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French.[2][1] He was a professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani.[2] The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″[3]
Life and career
[edit]
Bonnefoy was born in Tours, Indre-et-Loire, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury, a teacher.[4][5] He studied mathematics and philosophy at the Universities of Poitiers and the Sorbonne in Paris.[2] After the Second World War he travelled in Europe and the United States and studied art history.[4] From 1945 to 1947 he was associated with the Surrealists in Paris (a short-lived influence that is at its strongest in his first published work, Traité du pianiste (1946)). But it was with the highly personal Du mouvement et de l'immobilité de Douve [fr] (On the Motion and Immobility of Douve, 1953) that Bonnefoy found his voice and that his name first came to public notice.[6] Bonnefoy's style is remarkable for the deceptive simplicity of its vocabulary.[4][7]
Bonnefoy's work has been translated into English by, among others, Emily Grosholz, Galway Kinnell, John Naughton, Alan Baker, Hoyt Rogers, Antony Rudolf, Beverley Bie Brahic and Richard Stamelmann. In 1967 he joined with André du Bouchet, Gaëtan Picon, and Louis-René des Forêts to found L'éphémère, a journal of art and literature. Commenting on his work, Bonnefoy has said:
One should not call oneself a poet. It would be pretentious. It would mean that one has resolved the problems poetry presents. Poet is a word one can use when speaking of others, if one admires them sufficiently. If someone asks me what I do, I say I'm a critic, or a historian.[6][8]
He taught literature at a number of universities in Europe and in the USA: Brandeis University, Waltham, Massachusetts (1962–64); Centre Universitaire, Vincennes (1969–1970); Johns Hopkins University, Baltimore; Princeton University, New Jersey; University of Connecticut, Storrs, Connecticut;Yale University, New Haven, Connecticut; University of Geneva; University of Nice (1973–1976); University of Provence, Aix (1979–1981); and Graduate Center of the City University of New York, where he was made an honorary member of the Academy of the Humanities and Sciences.[9] In 1981, following the death of Roland Barthes, he was given the chair of comparative study of poetry at the Collège de France.[2]
Bonnefoy continued to work closely with painters throughout his career and wrote prefaces for artists’ books, including those by his friend Miklos Bokor.[10]
Bonnefoy died on 1 July 2016 at the age of 93 in Paris. President François Hollande stated of Bonnefoy on his death that he would be remembered for "elevating our language to its supreme degree of precision and beauty".[11]
Awards and honours
[edit]
Bonnefoy was honoured with a number of prizes throughout his creative life. Early on he was awarded the Prix des Critiques in 1971. Ten years later, in 1981, The French Academy gave him its grand prize, which was soon followed by the Goncourt Prize for Poetry in 1987.[2] Over the next 15 years, Bonnefoy was awarded both the Prix mondial Cino Del Duca and the Balzan Prize (for Art History and Art Criticism in Europe) in 1995, the Golden Wreath of Struga Poetry Evenings in 1999, and the Grand Prize of the First Masaoka Shiki International Haiku Awards in 2000. Toward the final years of his life, Bonnefoy was recognized with the Franz Kafka Prize in 2007 and, in 2011, he received the Griffin Lifetime Recognition Award, presented by the trustees of the Griffin Poetry Prize.[4] In 2014, he was co-winner of the Janus Pannonius International Poetry Prize.[12] He won the 2015 International Nonino Prize in Italy.
Selected works in English translation
[edit]
1968: On the Motion and Immobility of Douve. Translated by Galway Kinnell. (Ohio University Press: ASIN: B000ILHLXA) – poetry
1985: Poems: 1959-1975. Translated by Richard Pevear. (Random House: ISBN 9780394533520) – poetry
1991: In the Shadow's Light. Translated by John Naughton. (University of Chicago Press: 9780226064482) – poetry
1991: Mythologies [2 Volumes]. Compiled by Yves Bonnefoy. Edited by Wendy Doniger. (University of Chicago Press, ISBN 9780226064536) [n 1][13]
1993: Alberto Giacometti: A Biography of His Work. (Flammarion: ISBN 978-2080135124) – art criticism
1995: The Lure and the Truth of Painting: Selected Essays on Art. (University of Chicago Press, ISBN 9780226064444) – art criticism [3]
2004: Shakespeare and the French Poet. – essays on the role of the translator. (University of Chicago Press: ISBN 9780226064437)
2007: The Curved Planks. Translated by Hoyt Rogers. (Farrar, Straus and Giroux: ISBN 9780374530754). – poetry
2011: Second Simplicity: New Poetry and Prose, 1991-2011. Selected, translated, and with an introduction by Hoyt Rogers. (Yale University Press: ISBN 978-0-300-17625-4). – poetry
2012: Beginning and End of the Snow [followed by Where the Arrow Falls]. Translated by Emily Grosholz. (Bucknell University Press: ISBN 978-1611484588) – poetry
2013: The Present Hour; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN 9780857421630) – poetry[14]
2014: The Digamma; with an introduction by Hoyt Rogers. Translated by Hoyt Rogers. (Seagull Books: ISBN 978 0 8574 2 183 8). – poetry
2015: The Anchor's Long Chain; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN 978-0857423023) – includes both poems and short stories[3]
2017: Together Still [followed by Perambulans in Noctem]; with an afterword by Hoyt Rogers. Translated by Hoyt Rogers with Mathilde Bonnefoy. (Seagull Books: ISBN 978 0 8574 2 424 2). – poetry
Notes
[edit]
References
[edit]
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Get Jean Bonnefoy setlists - view them, share them, discuss them with other Jean Bonnefoy fans for free on setlist.fm!
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setlist.fm
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https://www.setlist.fm/setlists/jean-bonnefoy-6be596ce.html
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There are no setlists by Jean Bonnefoy on setlist.fm yet. You could help us by adding a first setlist ... or whatever you remember!
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See what Jean Bonnefoy (bonnefoy24) has discovered on Pinterest, the world's biggest collection of ideas.
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https://www.pinterest.fr/bonnefoy24/
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https://www.amaltherapeutics.com/amal-therapeutics-sa-announces-the-appointment-of-dr-jean-yves-bonnefoy-as-member-of-the-scientific-advisory-board
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Amal Therapeutics SA announces the appointment of Dr. Jean
| https://www.amaltherapeu…ages/[email protected]
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Amal Therapeutics SA announces the appointment of Dr. Jean-Yves Bonnefoy as member of the Scientific Advisory Board - amaltherapeutics.com
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https://www.amaltherapeutics.com/
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You are now leaving our website
Using this link will let you leave a website of Amal Therapeutics or to a different domain under the control of Amal Therapeutics. In the event that the linked site is not under the control of Amal Therapeutics but under the control of a third party or an affiliate in the Boehringer Ingelheim group of companies, Amal Therapeutics shall not be responsible for the contents, processing of personal data of any linked site or any link contained in a linked site, or any changes or updates to such sites.
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https://kids.kiddle.co/Yves_Bonnefoy
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Yves Bonnefoy facts for kids
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Learn Yves Bonnefoy facts for kids
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"Bonnefoy" redirects here. For the place, see Bonnefoy, California.
Yves Jean Bonnefoy (24 June 1923, Tours – 1 July 2016 Paris) was a French poet and art historian. He also published a number of translations, most notably the plays of William Shakespeare which are considered among the best in French. He was professor at the Collège de France from 1981 to 1993 and is the author of several works on art, art history, and artists including Miró and Giacometti, and a monograph on Paris-based Iranian artist Farhad Ostovani. The Encyclopædia Britannica states that Bonnefoy was ″perhaps the most important French poet of the latter half of the 20th century.″
Life and career
Bonnefoy was born in Tours, Indre-et-Loire, the son of Marius Elie Bonnefoy, a railroad worker, and Hélène Maury, a teacher. He studied mathematics and philosophy at the Universities of Poitiers and the Sorbonne in Paris. After the Second World War he travelled in Europe and the United States and studied art history. From 1945 to 1947 he was associated with the Surrealists in Paris (a short-lived influence that is at its strongest in his first published work, Traité du pianiste (1946)). But it was with the highly personal Du mouvement et de l'immobilité de Douve [fr] (On the Motion and Immobility of Douve, 1953) that Bonnefoy found his voice and that his name first came to public notice. Bonnefoy's style is remarkable for the deceptive simplicity of its vocabulary.
Bonnefoy's work has been translated into English by, among others, Emily Grosholz, Galway Kinnell, John Naughton, Alan Baker, Hoyt Rogers, Antony Rudolf, Beverley Bie Brahic and Richard Stamelmann. In 1967 he joined with André du Bouchet, Gaëtan Picon, and Louis-René des Forêts to found L'éphémère, a journal of art and literature.
He taught literature at a number of universities in Europe and in the USA: Brandeis University, Waltham, Massachusetts (1962–64); Centre Universitaire, Vincennes (1969–1970); Johns Hopkins University, Baltimore; Princeton University, New Jersey; University of Connecticut, Storrs, Connecticut;Yale University, New Haven, Connecticut; University of Geneva; University of Nice (1973–1976); University of Provence, Aix (1979–1981); and Graduate Center, City University of New York, where he was made an honorary member of the Academy of the Humanities and Sciences. In 1981, following the death of Roland Barthes, he was given the chair of comparative study of poetry at the Collège de France.
Bonnefoy continued to work closely with painters throughout his career and wrote prefaces for artists’ books, including those by his friend Miklos Bokor.
Bonnefoy died on 1 July 2016 at the age of 93 in Paris. President François Hollande stated of Bonnefoy on his death that he would be remembered for "elevating our language to its supreme degree of precision and beauty".
Awards and honours
Bonnefoy was honoured with a number of prizes throughout his creative life. Early on he was awarded the Prix des Critiques in 1971. Ten years later, in 1981, The French Academy gave him its grand prize, which was soon followed by the Goncourt Prize for Poetry in 1987. Over the next 15 years, Bonnefoy was awarded both the Prix mondial Cino Del Duca and the Balzan Prize (for Art History and Art Criticism in Europe) in 1995, the Golden Wreath of Struga Poetry Evenings in 1999, and the Grand Prize of the First Masaoka Shiki International Haiku Awards in 2000. Toward the final years of his life, Bonnefoy was recognized with the Franz Kafka Prize in 2007 and, in 2011, he received the Griffin Lifetime Recognition Award, presented by the trustees of the Griffin Poetry Prize. In 2014, he was co-winner of the Janus Pannonius International Poetry Prize. He won the 2015 International Nonino Prize in Italy.
Selected works in English translation
1968: On the Motion and Immobility of Douve. Translated by Galway Kinnell. (Ohio University Press: ASIN: B000ILHLXA) – poetry
1985: Poems: 1959-1975. Translated by Richard Pevear. (Random House: ISBN: 9780394533520) – poetry
1991: In the Shadow's Light. Translated by John Naughton. (University of Chicago Press: 9780226064482) – poetry
1991: Mythologies [2 Volumes]. Compiled by Yves Bonnefoy. Edited by Wendy Doniger. (University of Chicago Press, ISBN: 9780226064536)
1993: Alberto Giacometti: A Biography of His Work. (Flammarion: ISBN: 978-2080135124) – art criticism
1995: The Lure and the Truth of Painting: Selected Essays on Art. (University of Chicago Press, ISBN: 9780226064444) – art criticism
2004: Shakespeare and the French Poet. – essays on the role of the translator. (University of Chicago Press: ISBN: 9780226064437)
2007: The Curved Planks. Translated by Hoyt Rogers. (Farrar, Straus and Giroux: ISBN: 9780374530754). – poetry
2011: Second Simplicity: New Poetry and Prose, 1991-2011. Selected, translated, and with an introduction by Hoyt Rogers. (Yale University Press: ISBN: 978-0-300-17625-4). – poetry
2012: Beginning and End of the Snow [followed by Where the Arrow Falls]. Translated by Emily Grosholz. (Bucknell University Press: ISBN: 978-1611484588) – poetry
2013: The Present Hour; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN: 9780857421630) – poetry
2014: The Digamma; with an introduction by Hoyt Rogers. Translated by Hoyt Rogers. (Seagull Books: ISBN: 978 0 8574 2 183 8). – poetry
2015: The Anchor's Long Chain; with an Introduction by Beverley Bie Brahic. (Seagull Books: ISBN: 978-0857423023) – includes both poems and short stories
2017: Together Still [followed by Perambulans in Noctem]; with an afterword by Hoyt Rogers. Translated by Hoyt Rogers with Mathilde Bonnefoy. (Seagull Books: ISBN: 978 0 8574 2 424 2). – poetry
See also
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https://www.unlikelystories.org/unlikely-books/fata-morgana
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fata morgana
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Buy the paperback on Bookshop.org or the ebook on Kobo! Unlikely Books is delighted to publish the latest book of poems by Joel Chace, fata morgana. fata morgana uses a combination of original poetry and found texts to paint incredible intertextual images of ordinary life, extraordinary times, and the covid crisis. With an original cover by Sophia Santos, and new interior art
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Unlikely Books
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https://www.unlikelystories.org/unlikely-books/fata-morgana
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Buy the paperback on Bookshop.org or the ebook on Kobo!
Unlikely Books is delighted to publish the latest book of poems by Joel Chace, fata morgana. fata morgana uses a combination of original poetry and found texts to paint incredible intertextual images of ordinary life, extraordinary times, and the covid crisis. With an original cover by Sophia Santos, and new interior art by Tristan Chace.
Check out what people are saying about fata morgana:
These poems remind me of Jack Spicer’s Heads of the Town Up to the Aether.
I know Joel as a poet whom I've read with pleasure, over the years. I will have to say that he's the best artist in Lancaster, PA, since Charles Demuth.
—Ron Silliman, author of The Age of Huts (compleat)
Consisting of two long poems, “Fata Morgana” and “The Plague Year,” this luminous text employs an invented verse form involving dueling left and right hand texts, a fractured conversation whose silent mid-point is wonder. Texts talking to texts: events/times/places/material/spiritual/linguistic realities modifying one another hauntingly, with the effect of purifying expression through questioning and misdirection.
—Norman Fischer, author of There was a clattering as… and Nature
These poems are thoughtful phantoms, castles in the air, that meditate on the nature of reality, language, architecture, mythology, and philosophy. Joel Chace blends the voices of Yves Jean Bonnefoy, John Ashbery, Giuseppe Maria Giovene—and many others—with Chinese mythology, Georgian folklore, news media reportage, and encyclopaedic knowledge to spin a tapestry of variable language that seeks to apprehend the world as it is. Throughout, the poet reveals the joyful persistence of historical thought that reflects its mirage-like presence in poetry. His beautiful lines evoke insistent spectres of expression. Rich and concise, Fata Morgana is pleasurably provocative.
—Orchid Tierney, author of a year of misreading the wildcats
Reading Joel Chace’s latest collection, fata morgana, is like finding yourself locked in Max Escher’s impossible staircase where the stairs [poems] perform a continuous loop so that you could climb [read] them forever. Situated at the edge of our horizon, the fata morgana is a mirage, a superior image situated above the real object. Chace’s fata morgana demonstrates a mastery of serial vision and structure. This is an investigative poetics, juxtaposing the discourses of science, math, art, philosophy and literature in subversively flamboyant lines and language. In the section titled ‘The Plague Year’, the poem ‘Abeyance’ perfectly captures the essence of life in our own plague year, and what we find to sustain us:
But
somehow language is
here. Even
in the street.
Especially.
—Nancy Gaffield, author of Meridian and Continental Drift
Taking the form of an interior colloquy, Joel Chace’s speculative poem, fata morgana, presents a stunning and remarkable thesis: That the Fata Morgana, the mirage phenomenon, that in its way beguiles, enraptures and attends in legend the steersmen of the seas, has an analogue in poetry: For just as the sailor knows that what he sees is not necessarily commensurate, let alone indentical, with what his instruments portray, and yet he sails on into it, the poet, too, knowing that what he sees in his contemplation—in his power to produce presence itself as idea—and what his language will portray, are not necessarily commensurate, let alone identical, and yet he continues, and in the knowledge, and in the risk, that to name it would be to see it vanish.
—Gregory Vincent St. Thomasino, author of The Logoclasody Manifesto
fata morgana is an engaging blend in an excellent invented form. Reading, writing, & chance occurrences all are crucial to the composition of Joel Chace’s fine new book. A book of seeds where “language is … a knowing, an event …/ as words are important to hold on to/ whatever it is that composes us.” Chace unhooks & releases seed words in a book of riffs. I encourage you to tune in, to listen, & to see for yourself.
—Hank Lazer, author of Slowly Becoming Awake and COVID19 SUTRAS
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https://caitlinbrady.substack.com/p/the-ballad-of-jean-baret-de-bonnefoy
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The Ballad of Jean Baret de Bonnefoy - Part 2
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https://substackcdn.com/image/youtube/w_728,c_limit/1JSJ5_H_PYM
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https://substackcdn.com/image/youtube/w_728,c_limit/1JSJ5_H_PYM
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waxing poetic on the main each week
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https://caitlinbrady.substack.com/p/the-ballad-of-jean-baret-de-bonnefoy
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Keep reading with a 7-day free trial
Subscribe to The Wax Poetic to keep reading this post and get 7 days of free access to the full post archives.
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http://jacketmagazine.com/14/bishop-bonnefoy.html
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Judith Bishop on Yves Bonnefoy
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After gesture, verbal language is the means by which we formulate demands and requests to others for the fulfilment of our needs and desires. It is indispensible in the establishment of intimate relations with the other.
However, language is also the medium of a wider sociality, and with it, participation in conventions, linguistic and cultural, which inevitably pattern intimate relations. In postwar France, a range of thinkers sought to give a third, ontological inflection to the notion of intimacy. Among them were Georges Bataille and Maurice Blanchot, whom Joseph Libertson referred to, together with Emmanual Levinas, as the ‘philosophers of proximity’[See note [iii]]. In his (1991) monograph dedicated to the Swiss sculptor and painter Alberto Giacometti[See note [iv]], Bonnefoy acknowledged the profound influence of a journal directed by Bataille, Documents, in establishing the direction of postwar critical concerns in France. In the Bibliothèque Nationale survey of ‘Quelques livres qui ont compté’ (Books which have mattered), he describes Le Coupable (The guilty one) and L’Expérience intérieure (Inner experience) as works which provoked in one the feeling that they ‘were speaking of the essential’[See note [v]]. Maurice Blanchot, for his part, addressed two articles, ‘Le grand refus’ (The great refusal) and ‘Comment découvrir l’obscur?’ (How to discover what is in darkness?)[See note [vi]]to the question of poetic mission raised in Bonnefoy’s book of essays, L’improbable (The Improbable), when it first appeared in 1959.[See note [vii]]The title of this book spoke directly to a stream of thought on possibility and impossibility which had currency in the contemporary philosophies of being and language. That the presence of natural things might manifest itself in language was not impossible, Bonnefoy implied, but simply improbable . The improbable in this context served to index the poet’s desire for the (apparently) impossible. Extending the connection between himself as poet-philosopher and the philosopher of poetry, Bonnefoy wrote in an English-language article of Blanchot as a reader alert to poetic meaning not as a web of semantic associations, but rather, as subtle traces of ‘something which tends to break down any kind of structure, because it is man’s relation to nothingness and death.’[See note [viii]]
Even more than in his critical writings, a concern for an intimacy at once sensual, sexual, and – as if crossing a seamless border – ontological, appears in the early poetry of Bonnefoy, most notably in the long sequence of poems that constitutes Du mouvement et de l’immobilité de Douve. The sensual experience of the reader in relation to a text dealing with intimacy and desire as ontological concerns is as fundamental as the writer’s. It was Blanchot who brought to light most vividly the triangular intimacy of reader, writer and text in L’espace littéraire , first published by Éditions Gallimard in 1955.[See note [ix]]Writing’s indifference to the presence of reader and writer constitutes the possibility of an intimacy between the latter, in the reader’s recognition and indeed, affirmation of the necessary effacement of the writer’s unique presence within language:[See note [x]]
The work is itself communication. It is intimacy shared in struggle by reading’s demand and writing’s: by the work as form and measure, constituting itself as power, and the same work’s measureless excess, tending toward impossibility.
Blanchot wrote that ‘impossibility is being itself’. Possibility is the movement of assimilation by which the subject creates its reality by negating the separate being of what is assimilated, and by creating its reality provides itself with the means for further assimilations. These future assimilations are its possibilities. In such a context, ‘desire is precisely this relation to impossibility’[See note [xi]]. Nothing can be made of being as presence: it cannot be used for anything, nor consumed; though it is desired, it cannot satisfy desire. It is above all the notion of a desire that would affirm the impossibility of satisfaction with the projections of subjectivity in writing, and the loss of presence in the labyrinth of images, that informs the poetics of Bonnefoy.
Presence and communication
‘When I expressed the principle of losing one’s grip (glissement ) – as the presiding law of communication –’ writes Bataille, ‘I believed I had got to the bottom of the matter’[See note [xii]]. There is a certain common understanding in the work of Bataille and Bonnefoy regarding this philosophical notion of communication, which has little in common with the everyday notion of the transference of a message. A word such as ‘empathy’ might perhaps render it more closely; or the image of the joined chemical vessels the French call ‘les vases communicants’, in which the fluctuations of pressure in one vessel are always balanced by a change of fluid level in the other.
Glissement , the movement by which subjects enter together the space of angoisse (anguish), reveals a desire to shed the accumulated patterns of knowledge through or within which each subject sees and acts, in a certain sense, alone. The same movement of glissement animates the subject’s reflexive awareness of the stability that is thereby placed at risk. Communication exists in a shared movement of glissement , the mutual apprehension of the subject as ‘suspended’ across the void of non-savoir (not-knowing). The approach of death – or a willed approach to the radius of death – brings the subject to the limen of that void.
The speaker of Du mouvement et de l’immobilité de Douve describes the figure of Douve as[See note [xiii]]
Parée pour une fête dans le vide
Et les dents découvertes comme pour l’amour,
Fontaine de ma mort présente insoutenable.
Adorned for a festival in the void,
Teeth bared as if for love,
Fountain of my death living unbearable.
In Bataille’s L’histoire de l’érotisme (History of eroticism), fête – feast or festival – is the transgression of a relation to being (être ) represented by simple absorption in physical sensation.[See note [xiv]]Ethnographically, fête is also a form of communication effected through a deliberate and exuberant dissemination of wealth, a symbolic display of indifference to the daily means by which life is sustained: thus it is the celebration accompanying sacrifice.[See note [xv]]Douve appears earlier in this sequence as ecstatically seeking her own sacrifice: ‘toute/ En quête de la mort sur les tambours exultants de [s]es gestes’ (‘all/ Bent on death on the exulting drums of [her] gestures’)[See note [xvi]]. In the lines quoted above, it is through the mediation of Douve that the speaker experiences the anguish which is the upsurge of death in the present. It is this implication of the other in one’s own experience of being which Bataille calls ‘communication’. L’amour is the relation in which communication – a form of découverte , or disclosure – takes place: love reveals ‘cette qualité d’être que chacun doit à la présence de l’autre’, (‘that quality of being that each owes to the presence of the other’).[See note [xvii]]
For Bonnefoy and Bataille, the desire for communication also requires the rejection of self-reflexive desires which assimilate and neutralise the autonomy of natural being, such as the irreflective being of the body. The desire that bears on the being of natural things seeks reabsorption in the sphere of natural being, linking ‘nous ne savons quel brillant intérieur, infiniment vague, aux plus aveugles mouvements de la nature’ (‘we know not what brilliant interior, infinitely obscure, to the most blind motions of nature’).[See note [xviii]]For Bataille, this desire differs from Hegel’s conception of ‘absorption’ in sensual contemplation in so far as it remains ambiguous, anguished, a suspension between possibilities of satisfaction and resolution, which, conflict remaining, cannot be either accepted or entirely refused. What is revealed by this desire is not, as for Hegel, the object contemplated, nor the independence of the human subject from the being of natural things. Rather, it is the inability of the subject to detach itself from natural being. Human being is always on the brink of falling back into a simple bodily sphere of being. Representations tend to conceal the silent and ceaseless mobility and chaos of the being proper to natural things – a mobility revealed in startling fashion in the numismatic iconography of the Gauls. In an influential article, ‘Le cheval académique’ (The academic horse), Bataille presented illustrations of a set of coins displaying representations which belie the ancient Greek belief in form’s manifestation of idea and essence. The Gnostic figures of horses on these coins show no regularity of form as one might expect on currency, but rather the boundless energy and inventiveness of a transgressive decomposition of form.
For Bonnefoy, it is also natural being which a certain desire bears upon – ‘le désir de l’immédiat’ (‘the desire for immediacy’) – and which is momentarily revealed in the movement of communication. This paradoxical desire, contra Hegel, is an openness to alterity; it is not a desire to assimilate the non-self to the self, but a desire for the other as other. But here, the ‘other’ is the being of natural things, perceived in relation to the being proper to subjectivity. In Du mouvement et de l’immobilité de Douve , Douve represents the alterity of natural being in relation to the principal speaker. A section entitled, ‘Douve parle’ (‘Douve speaks’), follows sequences culminating in the main speaker’s affirmation:[See note [xix]]
Tue cette voix qui criait à ma face
Que nous étions hagards et séparés,
Murés ces yeux: et je tiens Douve morte
Dans l’âpreté de soi avec moi refermée.
Et si grand soit le froid qui monte de ton être,
Si brûlant soit le gel de notre intimité,
Douve, je parle en toi; et je t’enserre
Dans l’acte de conna”tre et de nommer.
Silenced that voice which shouted to my face
That we are stranded and apart,
Walled up those eyes: and I hold Douve dead
In the rasping self locked with me again.
And however great the coldness rising from you,
However searing the ice of our embrace,
Douve, I do speak in you; and I clasp you
In the act of knowing and of naming.
Douve responds, remarking that it is her own voice – which is a kind of silence, the silence of alterity – that inspires the speaker’s cry of affirmation:[See note [xx]]
Pourtant ce cri sur moi vient de moi,
Je suis mûré dans mon extravagance.
Quelle divine ou quelle étrange voix
Eût consenti d’habiter mon silence?
And yet the cry comes from myself,
I am walled up in my extravagance.
What divine or what strange voice
Would have agreed to live in my silence?
Much of the force of Du mouvement et de l’immobilité de Douve is captured by the subjunctive modality of Douve’s eventual invocation: ‘Que le froid par ma mort se lève et prenne un sens’ (‘Let the cold by my death arise and take on meaning’)[See note [xxi]]. Douve desires that ‘the cold’ become meaningful for the observer: yet the observer does not produce that meaning: ‘Que le froid par ma mort se lève... ’. The cold she refers to is the revelation of subjectivity as néant , as unfounded, when all that remains is the enigma of being. It is a stage in the development of Douve’s death, which is marked by the speaker’s assertion in relation to Douve: ‘Je te tiens froide à une profondeur où les images ne prennent plus’ (‘I hold you cold at a depth where images will not take’)[See note [xxii]]. But the sense of enigma induced by the cold is not insurmountable. That it is to be understood as a ‘stage’ is confirmed by Douve’s desire that it ‘take on meaning’ – but only through the mediation of her death, and not by a turning away from death.
In anguish, wrote Blanchot, the subject is affected or ‘inspired’ by alterity, the distance between the self and its other. Nonetheless, in so far as it is the experience of subjectivity’s negation, anguish (symbolized by the cold) remains a relation to being that is mediated by subjectivity (‘notre tête’, ‘our head’)[See note [xxiii]]:
Au premier jour du froid notre tête s’évade
Comme un prisonnier fuit dans l’ozone majeur,
Mais Douve d’un instant cette flèche retombe
Et brise sur le sol les palmes de sa tête.
Ainsi avions-nous cru réincarner nos gestes,
Mais la tête niée nous buvons une eau froide,
Et des liasses de mort pavoisent ton sourire,
Ouverture tentée dans l’épaisseur du monde.
On the first day of cold the head escapes
As a prisoner flees into rarest air,
But Douve for an instant that arrow falls
And breaks its crown of palms on the ground.
So we had dreamed of incarnate gestures
But with mind cancelled we drink a cold water,
And death’s banners flutter at your smile,
Attempted rift in the thickness of the world.
(Bonnefoy 1992b.: 64)
The affirmation of presence
Douve may thus be read as the mise-en-scène of a ‘dialogue of anguish and desire’ (the title of the final section in the third book of poems, Pierre écrite [See note [xxiv]]). The speaker of the poems, desiring the presence of Douve, undergoes a trial (épreuve ) in which he is witness to the upsurge of her death in the form of the insistence of matter and her body’s gradual decay – an alterity of matter which threatens to disperse subjectivity itself. As the poems unfold, it is clear that the experience of anguish must be undergone as a precursor to affirming a renewed relation to being, symbolized by the repeated and mute illuminations of Douve’s abrupt gestures: ‘Le bras que tu soulèves, soudain, sur une porte, m’illumine à travers les âges.’ (‘The arm you lift, suddenly, at a doorway, lights me across the ages’)[See note [xxv]]. The gestures of Douve are neither vague nor obscure; rather, they are the source of a certainty (évidence) retained by the speaker after the event. They reveal the experience of presence as that of a paradoxical appearance which disappears, or disappearance which appears, as Blanchot, too, conceived it: ‘Village de braise, à chaque instant je te vois na”tre, Douve,/ À chaque instant mourir.’ (Village of embers, each instant I see you being born, Douve,/ Each instant dying.’)[See note [xxvi]].
Douve’s acts (gestes ) mark the excess of an undialectic affirmation (the affirmation explored in L’improbable ) over a negation which remains dialectic (anguish remains a negative relation to subjectivity). Her ‘acts’ are often gestures. It is Douve’s body which undergoes a process of decomposition, and it is her body which affirms itself through gesture as containing a principle in excess of the pure matter by which it is invaded and to which it returns. Douve’s presence is affirmed in the ‘exulting drums of [her] gestures’, or the arm she raises suddenly across a threshold and which is a source of heat and illumination in the cold night of anguish.
Douve’s acts affirm a relation to the obscurity of being as presence other than a relation of anguish, in which ‘tout s’arrête’, and hope seems lost:[See note [xxvii]]
Secouant ta chevelure ou cendre de Phénix,
Quel geste tentes-tu quand tout s’arrête,
Et quand minuit dans l’être illumine les tables?
Shaking your hair or Phoenix’s ashes,
What motion do you make when everything stops,
And the inner midnight lights the tables?
The experience of disincarnation
For Bonnefoy, poetry is a source to which the poet returns, inquiring of presence, where it is to be found again... Blanchot writes of poetic language that ‘the word becomes desire , trusting to desire to bring it back to its source.’ Or, as René Char (quoted by Blanchot) proposed: ‘The poem is the realized love of desire still desiring.’[See note [xxviii]]
The written trace of lost presence is a shadow cast by language upon the actual being of the writer, who is ‘l’origine’, the origin of the work. In Bonnefoy’s fourth book of poems, Dans le leurre du seuil (1975) (In the lure of the threshold) the boatman, Charon, figures the shadowy hand and body of the writer, attempting the crossing from the near shore of being to the far shore of language:[See note [xxix]]
Se jette en criant celui qui
Nous représente,
Ombre que fait l’espoir
Sur l’origine,
Et la seule unité, ce mouvement
Du corps - quand, tout d’un coup,
Da sa masse jetée contre la perche
Il nous oublie.
He launches himself with a cry,
The one who represents us,
Shadow of hope fallen
Across the origin,
And the only unity, this motion
Of the flesh - when, of a sudden,
His weight thrown full against the pole,
We are forgotten.
The space of the poem is the unfolding and closing down again of the impossible motion in which the hope of maintaining a presence in language seems for an instant accomplished, ‘the origin blossoming into a beginning’[See note [xxx]].
But it is just that impossibility which will necessitate the interminable repetition of the crossing by the boatman: the act of writing, of remembering.[See note [xxxi]]
Mais non, toujours
D’un déploiement de l’aile de l’impossible
Tu t’éveilles, avec un cri,
Du lieu, qui n’est qu’un rêve.
But no, as always,
the wing of the impossible unfolding,
you awaken, with a cry,
from the place, that is nothing but a dream.
The sites in a poem where significations coagulate are paradoxically, the places at which presence is at once most close to expression, and the most intense site of its loss, ‘[b]lessure inguérissable’ (‘incurable wound’)[See note [xxxii]]:
Le ciel brille pourtant des mêmes signes,
Pourquoi le sens
A-t-il coagulé au flanc de l’Ourse,
Blessure inguérissable qui divise
Dans le fleuve de tout à travers tout
De son caillot, comme un chiffre de mort
L’afflux étincelant des vies obscures?
Yet the sky glitters with these signs,
Why has meaning dried like blood
On the flank of the Bear,
An incurable wound that divides
In the river of all life
With its clot, like a cipher for death,
The glistening flow of darkened lives?
The river crossed by the boatman is the motion of finitude. It is a metaphor for the idea of ‘the true place’ that Bonnefoy proposes in the essay ‘L’acte et le lieu de la poésie’, in which finitude would cease to be experienced as an enigma: ‘The true place is a fragment of time enveloped by eternity... in the true place chance loses its enigmatic character’[See note [xxxiii]].
The section of the book titled ‘Deux barques’ (‘Two barges’) is an exploration of the communication with other beings sought by the poetic text, within the framework of the myth of the boatman-writer. It opens onto a space of stillness and waiting; a presence has been, there has been an awakening; but now the writer remains restless while the presence sleeps and is silent. This is, perhaps, the imaginary space of ‘being’s inertia’ (Blanchot) between the deferred time of writing and the intimacy of being that has already retreated at the work’s approach:[See note [xxxiv]]
L’orage qui s’attarde, le lit défait,
La fenêtre qui bat dans la chaleur
Et le sang dans sa fièvre...
The storm that will not break, the rumpled bed,
the windows fluttering in the heat
the fevered blood...
The windows flutter in the quiet space between inside and out, subject and other, the curved back and blood of the poet and the aridity of the image, from which the blood of presence is always already lost. Shutters vibrate in an atmosphere of immobility, a figure which returns us to the opening of the poem:[See note [xxxv]]
A nouveau ce bruit d’un ailleurs, proche, lointain;
Tu vas à ce volet qui vibre... Dehors, nul vent,
Les choses de la nuit sont immobiles
Again that noise of another place, close and far away;
You go to that shutter which is shivering... Outside, not a breath of wind,
the things of the night are still
The writer seeks to recover the body of the lover, dispersed through and by the poem:[See note [xxxvi]]
La main proche à son rêve, la cheville
A son anneau de barque retenue
...
Puis le regard, puis la bouche à l’absence
Et tout le brusque éveil dans l’été nocturne
Pour y porter l’orage et le finir.
Hand close to her dream, her heel
held by the tow-ring of the barge
...
Then the look, then the mouth, opening into absence
And all the brisk awakening in the summer night
To carry the storm there and be done.
The dissolution of being is the fatal end of writing; for language will, of necessity, ‘carry the storm there and be done’.
Before the prospect of dissolution, ‘[s]’étant accru en nous ce bruit de mer’ (‘having grown in us that sound of the sea’), the writer is tempted to forget the intimacy of presence, no longer to resist the dispersion of his being in his language, to accept the negativity of the enigma presence becomes at the approach of writing: ‘Et l’étranger l’exil, en toi, en moi/ Se fasse l’origine...’ (‘And the stranger called exile, in you, in me/ Makes itself the origin...’)[See note [xxxvii]]. But he is unable to forget; forgetting remains a relation to presence.
Approaching the memory of presence – ‘cette eau où fleurit nos ressemblances’ (‘that water where our likenesses bloom’)[See note [xxxviii]]– the writer imagines not simply his own desire, but the other’s desire to be a presence to him. The writer’s questioning of the other is a response to her desire:[See note [xxxix]]
Je murmure: C’est donc ce que tu veux,
Puissance errante insatisfaite par les mondes,
Te ramasser, une vie, dans le vase
De terre nue de notre identité?
Et c’est vrai qu’un instant tout est silence...
I murmur: So this is what you want,
Errant power dissatisfied by all the worlds,
To gather yourself, a life, to fill the vase
Of naked clay of our identity?
And it’s true that there was a moment’s silence...
|
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wrong_mix_domainrange_publicationDate_00088
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FactBench
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WealthTech
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Wealth and Asset Management in the FinTech Age
Edited by:
Patrick Schueffel, Institute of Finance at the School of Management Fribourg
Published 2019
The book “WealthTech: Wealth and Asset Management in the Fintech Age” is the primary resource for the wealth and asset management technology revolution. It examines the rise of financial technology and its growing impact on the wealth and asset management industry. Written by thought leaders in the global WealthTech space, this volume offers an analysis of the current tectonic shifts happening in wealth and asset management and aggregates diverse industry expertise into a single informative book. It provides practitioners such as wealth managers, bankers and investors with the answers they need to capitalize on this lucrative market. As a primer on WealthTech it offers academics clear insight into the repercussions of profoundly changing business models. It furthermore highlights the concept of the ongoing democratization of wealth management towards a more efficient and client-centric advisory process, free of entry hurdles.
This book aggregates facts, expertise, insights and acumen from industry experts to provide answers on various questions including: Who are the key players in WealthTech? What is fueling its exponential growth? What are the key technologies behind WealthTech? How do regulators respond? What are the risks? What is the reaction of incumbent players?
This book not only seeks to answer these questions but also touches on a series of related topics:
• Get up to speed on the latest industry developments
• Understand the driving forces behind the rise of WealthTech
• Realize the depth and breadth of WealthTech
• Discover how investors react to the growth in WealthTech
• Learn how regulators influence the evolution of WealthTech business models
• Examine the market dynamics of the WealthTech revolution
• Grasp the industry’s potential and its effects on connected sectors
• Build acumen on investment and entrepreneurial opportunities
A unique product for the market place
Digital transformation is creating game-changing opportunities and disruptions across industries and businesses. One industry where these game-changing opportunities will have profound impacts is wealth and asset management. For generations, wealth and asset management was a privileged service provided to co-operations and wealthy individuals. The informational advantages that wealth managers held vis-a -vis their clients provided a key competitive differentiator. In the current digital transformation climate, this differentiator is vanishing and the setting is changing. A top priority on the agenda for any wealth and asset manager must therefore be how to respond and prepare for the ramifications of this fast changing business environment. This book (one of the first to be published in this area) will provide the reader with a head start in adapting to this new digital environment.
|
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wrong_mix_domainrange_publicationDate_00088
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FactBench
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2
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https://www.instagram.com/worldwideauctioneers/reel/CvNCjpGvKJB/
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en
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• One of only three examples produced • Restoration by noted Delahaye expert Jean-Luc Bonnefoy • Desirable ‘MS’ configuration, equipped...
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63 likes, 0 comments - worldwideauctioneers on July 27, 2023: "• One of only three examples produced
• Restoration by noted Delahaye expert Jean-Luc Bonnefoy
• Desirable ‘MS’ configuration, equipped with triple carburetors
• Featured at the 1950 Geneva Motor Show
• Eligible and ready for Concours events and tours around the globe See more cars: https://listings.worldwideauctioneers.com/inventory/ Register to bid: https://worldwideauctioneers.com/bidder-registration/".
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3116
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https://www.artnet.com/artists/jan-montyn/dealers
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Jan Montijn
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2022-04-29T06:51:51-07:00
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Genealogy for Jan Montijn (1924 - 2015) family tree on Geni, with over 260 million profiles of ancestors and living relatives.
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geni_family_tree
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https://www.geni.com/people/Jan-Montijn/6000000084519988194
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Son of Johannes Justus Montijn and Elisabeth van der Mark
Husband of Private
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https://ancestors.familysearch.org/en/K86T-N2N/jan-dirk-montijn-1849-1903
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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3116
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dbpedia
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3
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https://www.pba-auctions.com/en/lot/95782/9689152-jan-montyn-ne-en-1924sans-titrsearch%3D%26
|
en
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JAN MONTYN (NE EN 1924) Sans titre, 1982 Gravure... - Lot 119 - Pierre Bergé & Associés
|
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Toutes les informations sur le lot JAN MONTYN (NE EN 1924)
Sans titre, 1982
Gravure... - Lot 119 - Pierre Bergé & Associés
|
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https://medias-static-sitescp.zonesecure.org/sitegenerique/32/logos/favicon20190206142003.ico
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Pierre Bergé & Associés
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https://www.pba-auctions.com//lot/95782/9689152?
|
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3116
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dbpedia
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3
| 82 |
https://www.cedarmemorial.com/Obituary/2021/Jan/Polly-Alnutt/
|
en
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Cedar Memorial
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http://www.cedarmemorial.com/Handler.ashx?display=obit&Item_ID=
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At Cedar Memorial, you will find comfort, dignity and quality at every turn. From our distinctive facilities and grounds to our caring, professional staff. we provide Everything for your family. We pride ourselves in providing innovative funeral and cemetery services to families throughout the Cedar Rapids and Marion area
|
en
|
http://www.cedarmemorial.com/Obituary/2021/Jan/Polly-Alnutt/
|
Memorial
Polly Alnutt, 88, passed away Friday after a brief illness. In her honor, and when it's safe, surround yourself with family and friends, put on some soft jazz, bless and enjoy a big Mexican meal, then bring out the dominoes or deal the cards (euchre and poker were favorites) and let the laughs roll, as long as you don't mind losing. Polly liked nothing more than the simplicity of home and friends. She had legions of friends, from the members of the Oldtimer's Club at Quaker Oats, her church, adored neighbors, those she and Chuck made while fishing in Minnesota, and best friend Donna Akers.
She was preceded in death by beloved husband Chuck; children, Dennis, Richard, Julia and Keith; plus granddaughter, Montyne. The hole in her heart from those losses was filled with -- her exact words -- "Love, family, neighbors, pets, quilts, and God's Words of encouragement."
Polly was a strong woman, fun and unfiltered. Born on the banks of the Rio Grande, she raised seven children while actively serving the community as a board member and fund-raiser for Jane Boyd, Bender Pool, and Bethel AME. It was a full and happy life.
She's survived by daughters, Janice Byers, Janett Scott and Joyce Langston; and 27 grandchildren over 3 more generations. Each one of them received Polly's special brand of love; a mix of care and concern with a touch of sass thrown in, along with home cooked food and always a quilt.
There will be a memorial service at 1:30 p.m. Saturday, June 12, at the chapel at Cedar Memorial. All are welcome.
10.1.1
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3116
|
dbpedia
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2
| 21 |
https://www.booktopia.com.au/lamb-to-slaughter-jan-montyn/book/9780285626218.html
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Lamb to Slaughter
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Buy Lamb to Slaughter, An Artist Among the Battlefields by Jan Montyn from Booktopia. Get a discounted Paperback from Australia's leading online bookstore.
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en
|
https://www.booktopia.com.au/c116d1b/favicon.ico
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https://www.booktopia.com.au/lamb-to-slaughter-jan-montyn/book/9780285626218.html
|
Shipping
Standard ShippingExpress ShippingMetro postcodes:$9.99$14.95Regional postcodes:$9.99$14.95Rural postcodes:$9.99$14.95
How to return your order
At Booktopia, we offer hassle-free returns in accordance with our returns policy. If you wish to return an item, please get in touch with Booktopia Customer Care.
Additional postage charges may be applicable.
Defective items
If there is a problem with any of the items received for your order then the Booktopia Customer Care team is ready to assist you.
|
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1
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https://www.ranker.com/list/famous-authors-from-netherlands/reference%3Fpage%3D8
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en
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Famous Authors from Netherlands
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2011-06-28T00:00:00
|
List of the most popular authors from Netherlands, listed alphabetically with photos when available. For centuries authors have been among the world's most ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-authors-from-netherlands/reference
|
Wil Huygen, was a Dutch book author. He is best known for the picture books on Gnomes, illustrated by Rien Poortvliet. Huygen, a painter in his own right, was born in Amersfoort, the Netherlands. The seventh of ten children, his primary occupation was that of a physician. This helps to explain the method he used to give realism and a sense of authenticity to his children's books about gnomes. He was married and had five children. The first and most well known in this series is Gnomes. It was on top of the bestseller list of the New York Times for over a year. In the second book both Huygen and Poortvliet make appearances themselves in both the story and the illustrations as they get contacted by the gnomes because of Gnomes book they have written together. Huygens died January 14, 2009. He was 86 years old.
Joost Abraham Maurits Meerloo was a Dutch Doctor of Medicine and psychoanalyst. Born as Abraham Maurits "Bram" Meerloo in The Hague, Netherlands, he came to United States in 1946, was naturalized in 1950, and resumed Dutch citizenship in 1972. Dr. Meerloo was a practicing psychiatrist for over forty years. He did staff psychiatric work in the Netherlands and worked as a general practitioner until 1942 under Nazi occupation, when he assumed the name Joost to fool the occupying forces and in 1942 fled to England. He was chief of the Psychological Department of the Dutch Army-in-Exile in England. After the war he served as High Commissioner for Welfare in the Netherlands, and was an adviser to UNRRA and SHAEF. An American citizen since 1950, Dr. Meerloo was a member of the faculty at Columbia University and Associate Professor of Psychiatry at the New York School of Psychiatry. He was the author of many books, including Rape of the Mind, the classic work on brainwashing, Conversation and Communication, and Hidden Communion. He was the son of Bernard and Anna Frederika Meerloo. He married Elisabeth Johanna Kalf, Den Haag, May 16, 1928, divorce February 19, 1946.
Walther Wilhelm Georg Bothe (8 January 1891 – 8 February 1957) was a German nuclear physicist, who shared the Nobel Prize in Physics in 1954 with Max Born. In 1913, he joined the newly created Laboratory for Radioactivity at the Reich Physical and Technical Institute (PTR), where he remained until 1930, the latter few years as the director of the laboratory. He served in the military during World War I from 1914, and he was a prisoner of war of the Russians, returning to Germany in 1920. Upon his return to the laboratory, he developed and applied coincidence methods to the study of nuclear reactions, the Compton effect, cosmic rays, and the wave–particle duality of radiation, for which he would receive the Nobel Prize in Physics in 1954. In 1930 he became a full professor and director of the physics department at the University of Giessen. In 1932, he became director of the Physical and Radiological Institute at the University of Heidelberg. He was driven out of this position by elements of the deutsche Physik movement. To preclude his emigration from Germany, he was appointed director of the Physics Institute of the Kaiser Wilhelm Institute for Medical Research (KWImF) in Heidelberg. There, he built the first operational cyclotron in Germany. Furthermore, he became a principal in the German nuclear energy project, also known as the Uranium Club, which was started in 1939 under the supervision of the Army Ordnance Office. In 1946, in addition to his directorship of the Physics Institute at the KWImf, he was reinstated as a professor at the University of Heidelberg. From 1956 to 1957, he was a member of the Nuclear Physics Working Group in Germany. In the year after Bothe's death, his Physics Institute at the KWImF was elevated to the status of a new institute under the Max Planck Society and it then became the Max Planck Institute for Nuclear Physics. Its main building was later named Bothe laboratory.
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| 0 |
https://www.janmontyncollection.com/jan-montyn/%26lang%3Den
|
en
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Jan Montyn Collection
|
[
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en
|
images/favicon.ico
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Jan Montyn
Jan Montyn was born in Oudewater in 1924, where he spent a carefree childhood as part of a large, close-knit, orthodox Protestant family.
As a 17 year-old in the Second World War, attracted purely by the promise of adventure, he became a member of the Jeugdstorm (Dutch National Socialist Youth Movement), and participated in two Weersportkamps (Endurance Camps) in Austria. In order to escape the Arbeitseinsatz (forced labour) and the restrictiveness of Oudewater, he joined the German navy in mid-1944. In the Baltic Sea, his ship was sunk by a torpedo attack, and he barely survived. He was transferred to the trenches in Courland, where he was wounded. Upon his recovery, he was bussed to the front line at Oder, where he witnessed the bombing of Dresden first-hand. When the Russians crossed the Oder, he fled to West Germany where he was eventually captured by the Americans. He managed to escape to Marseille, where he joined the Foreign Legion. After a short period with the Foreign Legion, he deserted and gave himself up in Straatsburg. In August 1945, he was transferred to the camp in Vught, and then on to the Duindorp camp in Scheveningen. He was sentenced to three years’ internment: firstly in the re-education camp in Katwijk, and later in Nunspeet. At weekends, he would return home to Oudewater or visit the artists’ bars on the Leidseplein in Amsterdam. He returned to Oudewater in May 1948.
However, once again, Oudewater proved too restrictive and suffocating for him, and he signed up for military service with the UN. After undergoing commando training, he was shipped to Korea, where his love affair with the Far East, particularly South-East Asia, began. He was wounded while serving on the front line. After his recovery, he was once again wounded, and admitted to a hospital in Tokyo with partial paralysis. After his rehabilitation from this latest war wound, he was transferred back to the Netherlands, whereupon he returned to Oudewater.
However, after a while, he realised that he had completely outgrown Oudewater and decided to become a professional soldier, accepting a post as instructor for the infantry division of the Dutch Army. Physically, he was in top condition, but his experiences at war had taken a toll on his psychological well-being, and he suffered from fits of rage. During this period, he also began to sketch more and more. After a while, he was given the task of setting up a museum for the Dutch Grenadier Guards. As curator of the museum, Montyn led a double life. By day, he tended to the museum, but by night, he would organise wild parties, orgies and drinking binges. His rage attacks got worse, and he was eventually admitted to a psychiatric institution in Utrecht. He brought his psyche back into balance by writing extensively about his experiences. In April 1957, he was declared unfit for service and discharged from the armed forces.
He then set up home in Amsterdam, on the Oudezijds Kolk, where he lived on the fringes of the art world. He made friends with Anton Heyboer, who instilled Montyn with his passion for sketching and showed him numerous techniques. This expressive medium and refined techniques were perfectly suited to Montyn, and together with Heyboer, he embarked upon a long journey through France, Spain and Morocco.
In 1961, Montyn met the young artist Thom Gerrard. They then moved to Morocco, living and working in Rabat for nine months. Upon returning to the Netherlands, they went their separate ways. Tragically, just after Montyn’s first solo exhibition in 1963, Thom took his own life.
In mid-1963, Montyn met Elja Julien, with whom he moved to Provence in 1964. With his own two hands, he renovated a tumbledown building for the couple to live in. It had no running water or electricity, but it did have a studio, which he used to create his etchings. His use of colours became more and more pronounced, and his first series of etchings flowed onto the canvas. He was featured in numerous exhibitions. He then embarked with Elja on journeys through Spain, Morocco, the Sahara Desert and the Atlas Mountains. Together with Elja, he accompanied his first child-refugee transit from South Korea. The couple broke up towards the end of the 1960s.
This marked the beginning of six years of long journeys, often for months at a time. Thailand, Laos, Cambodia and Vietnam became homes from home. Montyn travelled through rainforests, across hills, through valleys and along and across the Mekong river. He travelled through war zones, such as the Plain of Jars, Hué, Haiphong, Saigon, Hanoi and the tunnels of Cu Chi. He was caught in air raids, and he stood eye-to-eye with the Vietcong. He combined these extreme circumstances with temple retreats and with rest & recuperation in Bangkok. On his travels, he would create sketches and paintings, and back at his house in France, he would translate his experiences into etchings. The powerful etchings that he created during this period portrayed subjects such as war, air raids and casualties, but also the serenity of the temples, the mystic quality of the landscape and the burning desire for liberation. They were years of intense contrast: the tension and emotion of South-East Asia, hard work in Provence, and the worldliness of Amsterdam and Paris and the countless other cities in which his work was exhibited.
After the fall of Saigon in 1975, enough was enough for Montyn, and he returned to Europe. In Amsterdam, he met Hi-en Tjia, who he would marry later that same year. The two of them embarked on many journeys together, and the touring party was increased to three with the birth of their daughter Carolynne. They travelled far and wide, to Morocco, Korea, Japan, the Philippines, Thailand, Cambodia and Indonesia.
It was at this period that the Khmer Rouge came to power. Once again, Montyn offered his services as a volunteer to humanitarian organisations. He illegally crossed the Mekong, citing his work as an artist as his motivation. He met Roumpha, ‘the Khmer Rouge girl’, via whom he came into proximity with the regime. He witnessed the waves of refugees fleeing Poipet, and visited the refugee camps on the border with Thailand, such as Khao-I-Dang. He witnessed the cruelty that took place in the Tuol Sleng torture camp in Phnom Penh, and the suffering of the victims of the omnipresent landmines, both in the forests and in the fields. He assisted in the transportation of child refugees and the supply of medication for Doctors without Borders, and also worked to clear land mines. His knowledge of the country also enabled him to help track many missing persons for Amnesty International.
When the military regime took power in Burma, causing a desperate shortage of medicines, he participated in many illegal shipments of medication. In this capacity, he was once again confronted with floods of refugees and the camps in Mae Sot, on the Thai border with Burma. This was once again a period of extreme contrast, with the tension and humanitarian crisis in Cambodia and Burma interchanging with relaxation in Bangkok and family and work life in Amsterdam and Provence. The sketches and etchings that he created during this period have a completely unique style of imagery and their overwhelming power of expression is hugely impressive.
In the second half of the 1990s, the situation in South-East Asia had calmed. However, Montyn continued to travel through Asia, accompanied by his trusty sketch pad, pencil, paintbrush and water colours. He recorded the experiences of his travels at home via his etchings, using his own unique imagery and his characteristic colour scheme.
|
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| 59 |
https://apuntogallery.com/en/art-category/artists/ramon-gieling-en/
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en
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Ramón Gieling artworks and biography
|
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Ramón Maria Gieling (1954) is a well known Dutch film director, photographer and painter. In the seventies he studied at the Academy of art in Arnhem.
|
en
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Apunto Gallery
|
https://apuntogallery.com/en/art-category/artists/ramon-gieling-en/
|
Ramón Gieling
Foto: Bob BronshoffRamón Maria Gieling (1954) is a well known Dutch film director, photographer and painter. In the seventies he studied at the Academy in Arnhem. At the start of his career, he mainly exhibited drawings, photographs and paintings. Gradually he became more and more involved in cinematography and documentary making.
An overarching theme in Gieling’s work, is the country of his youth: Spain. More specifically: the very Spanish concept of ‘Duende’. Beautifully described by the author Lorca, ‘Duende’ can be best explained as a form of artistic rapture experienced by (Andalusian) artists when performing at their peak. One of Gieling’s earlier films was completely devoted to the deciphering of this elusive concept. Many of his later cinematographic projects also feature people who seem to have a natural ability to reach the heights of such rapturous performance peaks in their art or profession. Such as the legendary Dutch football player Johan Cruijff during his time in Barcelona. Gieling’s best known film ‘En un momento dado’ features Cruijff’s magical ability to move the ball as well as the people around him.
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https://ancestors.familysearch.org/en/K86T-N2N/jan-dirk-montijn-1849-1903
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en
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FamilySearch.org
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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3116
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dbpedia
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0
| 9 |
https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
|
en
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Jan Montijn
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[
"Jan Montijn"
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Learn more about Jan Montijn (Dutch, 1924 - 2015). Read the artist bio and gain a deeper understanding with MutualArt's artist profile.
|
en
|
https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
|
Cookie Consent
We use cookies to enhance your browsing experience, serve personalized ads or content, and analyse our traffic. You can change your cookies' preferences any time. To learn more, check our Cookie Policy
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3116
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dbpedia
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| 20 |
https://www.betweenthecovers.com/pages/books/356739/jan-montyn-dirk-ayelt-kooiman/a-lamb-to-slaughter-an-artist-among-the-battlefields
|
en
|
A Lamb to Slaughter: An Artist among the Battlefields
|
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[
"Dirk Ayelt Kooiman",
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Hardcover. First British edition. Translated from the Dutch by Adrienne Dixon. 252pp. Illustrated with photographs. Owner's pen notation on front fly, corners bumped, still very good in a fine dustwrapper. Item #356739 ISBN: 0285626213
|
en
|
/apple-touch-icon-57x57.png
|
Between the Covers
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https://www.betweenthecovers.com/pages/books/356739/jan-montyn-dirk-ayelt-kooiman/a-lamb-to-slaughter-an-artist-among-the-battlefields
|
Hardcover. First British edition. Translated from the Dutch by Adrienne Dixon. 252pp. Illustrated with photographs. Owner's pen notation on front fly, corners bumped, still very good in a fine dustwrapper.
Item #356739
ISBN: 0285626213
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dbpedia
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3
| 2 |
https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
|
en
|
Career, biography and origin of Jan Montyn
|
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"Paul Cardoso"
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2024-01-27T12:36:57+00:00
|
When was celebrity Jan Montyn born ? Celebrity Jan Montyn's date of birth is October 20, 1924. Learn more about Jan Montyn What is the origin of the
|
en
|
Buzz
|
https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
|
Jan Montyn, famous Dutch artist, was born on June 28, 1924 in Oudewater. After surviving World War II, Montyn enlisted in the Dutch Indian Colonial Army where he encountered the brutality of Indonesia’s War of Independence. These experiences had a profound impact on the artist, who began to express his feelings and memories in his paintings. His unique style combining realism and expressionism quickly attracted the attention of art critics and the public.
Montyn then became internationally known through his exhibitions and his series of books, notably “Black Blood”, where he recounts his experiences of the war. His works have been applauded for their ability to capture the essence of human suffering while expressing hopes for peace and reconciliation. Today, Jan Montyn is recognized as one of the greatest contemporary Dutch artists, and his artistic legacy continues to inspire and fascinate future generations.
Jan Montyn is a Dutch-born celebrity who distinguished himself in the art world as a painter and writer. Born in 1924 in The Hague, Montyn demonstrated exceptional artistic talent from an early age. After studying at the Academy of Fine Arts in Rotterdam, he gained notoriety thanks to his unique style, mixing realism and abstraction. But the story of Jan Montyn is not limited to his artistic talent. During the Second World War, he was conscripted into the Waffen-SS, an experience which had a profound impact on his life and work. His war years were marked by violence and tragedy, and influenced his dark and complex artistic vision.
Over the decades, Montyn has exhibited his works in numerous museums and galleries around the world, and has received numerous awards and recognitions for his work. Alongside his artistic career, he also became known as a writer, publishing several books in which he recounts his war memories and his passion for art. Jan Montyn is today considered one of the most important artists of his generation, and his work continues to inspire many art lovers around the world. His tumultuous life, his unique experiences and his incomparable artistic talent make him an essential figure in the contemporary art scene.
Jan Montyn is a renowned Dutch artist, famous for his landscape paintings and works inspired by World War II. Born October 20, 1924 in The Hague, Netherlands, he was the son of Hendrik Montyn and Maria van den Berg. The Montyn family were from the working class and lived modestly. During the war, Jan Montyn joined the Dutch navy to escape the difficulties of daily life under German occupation. After the war, he pursued his passion for art and studied at the Royal Academy of Fine Arts in Amsterdam.
Montyn became particularly influenced by the horrors of war and began creating works that reflected human suffering and the scars of violence. His style was often described as abstract expressionism, with rapid, powerful brushstrokes that helped convey a sense of urgency and raw emotion. Over the years, Montyn gained recognition and exhibited his works across Europe and even the United States. He died on November 29, 2015 in Amsterdam, leaving behind an impressive artistic legacy that has earned him a place in contemporary art history.
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dbpedia
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1
| 81 |
https://obituaries.daltoncitizen.com/obituary/edna-collins-740376502
|
en
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The Daily Citizen
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"Edna Collins",
"The Daily Citizen Obituaries",
"Obituary",
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"condolences",
"remembrances",
"life story",
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"newspaper obituaries",
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"guestbook",
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Edna Collins passed away. This is the full obituary where you can share condolences and memories. Published in the The Daily Citizen on 2014-01-30.
|
en
|
//d2zfowlldib7se.cloudfront.net/assets/cnhi-obits/images/favicons/dalton-daily/favicon.ico
|
https://obituaries.daltoncitizen.com/obituary/edna-collins-740376502
|
Mrs. Edna Montyne Collins, 83, of Tunnel Hill, departed this life Tuesday evening, Jan. 28, 2014, at her home.
She was born Feb. 28, 1930, in Walker County, a daughter of the late Ciceroe and Ethel Bailey Stancell. She was also preceded in death by her husband, Odell Daniel Collins; daughter, Marilyn Juanita Collins; brothers, B.F., Homer and Thurman Stancells; sisters, Dessie Goble, Vera Ogle, Dorothy Neal.
She was a member of Mill Creek Baptist Church. She was the owner of the Mill Creek Diner in Rocky Face.
She is survived by her son, Danny Collins of Rocky Face; daughter and son-in-law, Betty Lloyd Newby and Jack Newby of Tunnel Hill; grandchildren, Ashley Stewart, Latasha Burton, Steve Lloyd, Craig Lloyd; great-grandchildren, Kayla Lloyd, Donovan Lloyd, Madison Patterson, Michiko Burton, Gabriel Burton, Kakashi Burton, Cain Stewart; great-great-grandchild, Jayden Morris; several nieces and nephews,
Services to celebrate the life of Mrs. Edna Montyne Collins will be Monday at 2 p.m. from Mill Creek Baptist Church with the Rev. Gary Hill, the Rev. Keely Hasty and the Rev. Charles Carnes officiating.
She will be at the church from noon until the funeral hour on Monday.
Interment will be in Mill Creek Baptist Church Cemetery.
The family will receive friends at the funeral home from 5 to 9 p.m. Sunday.
Arrangements are by Ponders Melrose Chapel, Dalton; (706) 226-4002.
Published on January 30, 2014
Plant a Living Memorial
In Memory of EdnaHow does it work?
Send Flowers: When Is the Ordering Deadline?
Next-Day Delivery
ANY DAY OF THE WEEK
Order any time up till the day before
Same-Day Delivery
MON-FRI Order by 2:00PM
SAT & SUN Order by noon
Morning Delivery
TUES-SAT Order by 3:00PM
The day before
SAT & SUN Order by Saturday
Note: These are general guidelines; some florists may not be able to operate within these timelines. During peak periods such as Valentine’s Day, Memorial Day and most holidays, florists are not always able to keep up to demand. Tribute will contact you if there are any issues.
Plant a tree: How does it work
When your purchase is complete, a post will be made on the tribute wall of the deceased signifying the planting of a memorial tree.
An official certificate recognizing your purchase will be included with your email receipt. You can then forward the email to the family or print it and give it to them personally.
After an order is placed, our forestry partners will plant the tree in the area of greatest need (nearest the funeral home), according to the planting schedule for the year.
Due to seasonal conditions, the tree planting takes place during the spring and summer.
Tree Planting Timeline
Orders placed in:
January - May
Planting will take place in Spring or Summer of the same year.
June - December
Planting will take place in Spring of the following year.
Hide Detail
In Memory of Edna
Plant a tree How it Works Plant a tree
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dbpedia
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0
| 62 |
https://m.facebook.com/notes/if-you-grew-up-in-ringgold/d41d8cd9/175631082507074/
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en
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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de
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://www.facebook.com/login/
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3116
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dbpedia
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| 60 |
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/tolerance-without-borders/
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en
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Tolerance without Borders
|
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In early 2013, the Kunsthal will be presenting a comprehensive overview of graphic work by Jan Montyn (1924). The artist leads a restless life and is always on the lookout for excitement.
|
en
|
/static/img/favicons/favicon.ico
|
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/tolerance-without-borders/
|
In drawings, etches and mono prints, Montyn records his experiences during his many travels to North Africa and the Far East, and his work is an ode to love and to the landscape. Montyn writes probing reports about his experiences in the many wars he has been involved in. The exhibition focuses on three main themes: identity (the search), liberation (the hope for Vietnam and Cambodia) and space (travels, landscape). Every month, one special theme will be highlighted by changing the exhibited works. The exhibition, compiled from the collection of Rombout van Zwetselaar, marks the launch of the website www.janmontyncollection.com. This puts Jan Montyn's entire oeuvre in a wide framework.
Janmontyncollection.com
The website includes all Jan Montyn's graphic works, around 3000 etches and mono prints as well as 1000 of his many drawings. The individual works are linked by periods and themes from Montyn's own life. Moreover, specific information has been included on all the works; the website is a comprehensive database in which Montyn's work has been documented in an accessible fashion. Visitors can search the database in many different ways. Owners of work by Montyn are asked to share any relevant information they have which is not yet on the website.
About Jan Montyn
Following short periods working for the German military service and the UN forces in Korea, and as a museum curator in the Dutch army, Montyn settled in Amsterdam in 1957. There he led a life on the fringe and on the margins of art, becoming friends with Anton Heyboer, who taught him the technique of etching. He travelled a lot and spent most of his time in Southeast Asia, where he experienced the horrors of the Vietnam War in Vietnam, Cambodia and Laos. He travelled through Cambodia during the period of the Khmer Rouge, and he worked for Doctors without Borders (MSF) in Thailand, Cambodia and Myanmar. Southeast Asia will always be his second home. He continued to draw during his travels; in his house in France, he dealt with his experiences through etching, using his own imagery and unique palette of colours.
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| 35 |
https://aspe.hhs.gov/reports/national-invitational-conference-long-term-care-data-bases-conference-package-0
|
en
|
National Invitational Conference on Long-Term Care Data Bases: Conference Package
|
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1987-04-30T20:00:00-04:00
|
Office of Social Services Policy
|
en
|
/themes/custom/aspe_uswds/favicon.ico
|
ASPE
|
https://aspe.hhs.gov/reports/national-invitational-conference-long-term-care-data-bases-conference-package-0
|
Office of Social Services Policy
This package--distributed at a national conference held at the Ritz-Carlton Hotel, Washington, D.C. on May 21-22, 1987--was prepared by the Office of Social Services Policy (now the Office of Disability, Aging and Long-Term Care Policy) with the U.S. Department of Health and Human Services. For additional information, you may visit the DALTCP home page at http://aspe.hhs.gov/daltcp/home.htm or contact the Office of Disability, Aging and Long-Term Care Policy, Room 424E, H.H Humphrey Building, 200 Independence Avenue, SW, Washington, DC 20201. The e-mail address is: [email protected]. The DALTCP Project Officer was Robert Clark.
"
AGENDA
THURSDAY, MAY 21, 1987
8:00-9:00 am (BALLROOM LOBBY)
Conference Registration and Coffee
9:00-9:30 am (BALLROOM)
Introductions
Welcome
9:30-11:30 am OVERVIEW OF LTC DATA BASES: GENERAL SESSION (BALLROOM)
Introduction
1982-1984 National Long Term Care Survey
National Long Term Care Channeling Demonstration
National Health Interview Survey 1984 Supplement on Aging
1985 National Nursing Home Survey
11:30 am-1:00 pm LUNCH BREAK (reconvene at 1:00 pm)
1:00-3:00 pm EXAMINATION OF LONG TERM CARE DATA BASES (Breakout Session No. 1)
1982-1984 National Long Term Care Survey (BALLROOM)
National Long Term Care Channeling Demonstration (CARLTON)
National Health Interview Survey: 1984 Supplement on Aging (BALCONY)
1985 National Nursing Home Survey (BALCONY)
3:00-3:15 pm BREAK
3:15-5:15 pm EXAMINATION OF LONG TERM CARE DATA BASES (Breakout Session No. 2)
1982-1984 National Long Term Care Survey (BALLROOM)
National Long Term Care Channeling Demonstration (CARLTON)
National Health Interview Survey: 1984 Supplement on Aging (BALCONY)
1985 National Nursing Home Survey (BALCONY)
5:30-7:30 pm RECEPTION (BALLROOM LOBBY)
(Co-sponsored by the American Association of Retired Persons, the American Health Care Association, the Blue Cross and Blue Shield Association, and the Health Insurance Association of America)
Welcome
FRIDAY, MAY 22, 1987
7:45-8:00 am COFFEE (BALLROOM)
8:00-8:30 am (BALLROOM)
NHANES I Epidemiological Followup Study (General Session)
8:30-8:50 am (BALLROOM)
Inventory of Long Term Care Places (General Session)
8:50-9:40 am (BALLROOM)
Overview of Survey of Income and Program Participation (General Session)
9:40-10:15 am (BALLROOM)
Other Long Term Care Data Sources (General Session)
10:15-10:30 am BREAK
10:30 am-12:15 pm (BALLROOM)
Long Term Care Data Base Producer Panel Applications (General Session)
Moderator
Participants
12:15-12:30 pm (BALLROOM)
"In the Pipeline" (General Session)
12:30-12:45 pm (BALLROOM)
Summary and Conclusion (General Session)
12:45-2:00 pm LUNCH BREAK (Reconvene at 2:00 pm)
2:00-3:35 pm EXAMINATION OF LONG TERM CARE DATA BASES (Breakout Session No. 3--Informal)
1982-1984 National Long Term Care Survey (BALLROOM)
National Long Term Care Channeling Demonstration (CARLTON)
National Health Interview Survey: 1984 Supplement on Aging (BALCONY)
1985 National Nursing Home Survey (BALCONY)
LIST OF PARTICIPANTS
PRESENTERS/SPEAKERS
GENERAL ATTENDEES
LONG TERM CARE DATA BASE SUMMARIES
National Long Term Care Channeling Demonstration
Referral Person: Judith Wooldridge
Phone Number: (609)275-2370
Target Population: Individuals 65 years or older. Noninstitutionalized. Functional limited.
Sample Size: 6,326 screens.
Type of Survey: Longitudinal (baseline, 6, 12, 18 months); multiple data sources.
Universe: Aged noninstitutional functionally limited persons.
Sample Frame: Persons randomized (treatment/controls) into Channeling demonstration.
Clustering: 10 sites.
Stratification: Age, eligibility criteria.
Collection Agency: Mathematica Policy Research, Inc.
Smallest Geographical Unit Results: Demonstration site.
Year of Data: 1982-1985.
Final Data Tapes: January 1987.
Cost of Survey: ASPE/HCFA/AOA--$13 million (for full Channeling evaluation).
1982 National Long Term Care Survey
Referral Person: Ken Manton
Phone Number: (919)684-6126
Target Population: Individuals 65 years or older, noninstitutionalized. Functional limited.
Sample Size: 36,000 screened. 6,400 detailed.
Type of Survey: Cross-sectional.
Universe: Aged noninstitutional functionally limited persons in nation.
Sample Frame: Medicare Health Insurance Master File.
Clustering: 173 sampled areas.
Stratification: Age and original reason for entitlement.
Collection Agency: Census Bureau
Smallest Geographical Unit Results: Census Bureau.
Year of Data: 1982.
Final Data Tapes: February 1984.
Cost of Survey: ASPE--$1.1 million. HCFA--$1.0 million.
1984 National Long Term Care Survey
Referral Person: Ken Manton
Phone Number: (919)684-6126
Target Population: Individuals 65 years or older, total. Functionally limited.
Sample Size: 20,000 screened. 11,000 detailed.
Type of Survey: Panel with 1982 National Long-Term Care Survey, cross-sectional for 1984.
Universe: Aged functionally limited persons in nation.
Sample Frame: Medicare Health Insurance Master File.
Clustering: 173 sampled areas.
Stratification: Age and original reason for entitlement.
Collection Agency: Census Bureau
Smallest Geographical Unit Results: Census Bureau.
Year of Data: 1984.
Final Data Tapes: August 1985.
Cost of Survey: NCHSR--$78 thousand. HCFA--$2 million.
1985 National Nursing Home Survey
Referral Person: Evelyn Mathis
Phone Number: (301)436-8830
Target Population: Persons in nursing homes. Supplemented by admissions in 1983. All ages.
Sample Size: 2,000 facilities. 12,000 residents.
Type of Survey: Facilities, residential cross-sectional; admissions-longitudinal.
Universe: Facilities--nursing and related care homes. Residents--institutionalized persons. Admissions during 1983.
Sample Frame: Master Facilities Inventory.
Stratification: Type of ownership size, type of care.
Collection Agency: Contract to be awarded to minority contractor.
Smallest Geographical Unit Results: Administrative region.
Year of Data: 1985 cross-sectional. 1984/1985 admission.
Final Data Tapes: Early 1987.
Cost of Survey: NCHS--not yet determined. HCFA--$1.4 million.
1984 National Health Insurance Survey/Supplement on Aging
Referral Person: Gerry Hendershot
Phone Number: (301)436-7084
Target Population: Civilian noninstitutionalized 55 years plus.
Sample Size: 16,000 surveyed.
Type of Survey: Cross-sectional personal.
Universe: All households.
Sample Frame: Area probability sample.
Clustering: 376 primary sampling unit. 12,000 neighborhood segments.
Stratification: Post-stratified to independent estimate of age, sex, race population subgroup.
Collection Agency: Census Bureau
Smallest Geographical Unit Results: 4 major geographical regions and selected SSMA's.
Year of Data: 1984.
Final Data Tapes: December 1986.
Cost of Survey: NCHS--$1.5 million.
I. 1982-1984 NATIONAL LONG TERM CARE SURVEY
Kenneth G. Manton, Ph.D., Demographic Studies, Duke University, Durham, NC
Korbin Liu, Sc.D., Health Policy Center, The Urban Institute, Washington, DC
I. INTRODUCTION
With the rapid increase in the U.S. elderly (65+) and oldest-old (85+) populations, considerable concern has emerged over the amount of future acute and long-term care (LTC) services that will be required by that population, and of the nature of the mixture of federal, state and private programs necessary to respond to that need. One of the areas of service needs with the projected greatest rate of growth is that for LTC services. The National Nursing Home Surveys (NNHS) conducted by the National Center for Health Statistics in 1963, 1969, 1973, 1977 and, most recently, 1985 (with a follow-up in 1987) have provided considerable information on the institutional component of LTC services. More recently, because of the rapid growth of the elderly and oldest-old populations, considerable interest has emerged in home LTC options, both because of concern about the economics of institutional care and because of humanitarian concern about the level of dependency and quality of life in many LTC institutions. Until the advent of the National Long Term Care Survey (NLTCS) there was no major nationally representative survey with specially designed instrumentation that dealt explicitly both with the health and functional problems of the community dwelling disabled elderly, the home LTC options (both formal and informal) available to meet those problems, and the ability to substitute, for a specific target population, home and institutional care. The 1982 NLTCS filled this gap in our knowledge and provided considerable information on which both to plan the nature of required services and to develop private insurance products to pay for such services. The 1984 NLTCS provided a basis upon which to examine changes in the home LTC populations and to examine the trajectory of service needs at the individual level.
The 1982 and 1984 NLTCS are detailed household surveys of persons aged 65 and over who manifest some chronic (i.e., 90 days +) Activity of Daily Living (ADL) or Instrumental Activity of Daily Living (IADL) impairment. The sample for the surveys was drawn using a two-stage procedure. In 1982, 36,000 names were drawn from the Health Insurance Master file. These persons were then screened by either telephone or personal visit to see if they manifested an ADL or IADL impairment of 90 days duration (or which was anticipated to last at least 90 days). When the screen identified a person living in the community with a chronic impairment, a detailed household interview was conducted which gathered information on medical status (diag- noses), functional status (presence of ADL, IADL or other functional impairments and equipment or caregivers utilized by the person to deal with his impairments), income and assets, health service use, use of federal services, housing and living arrangements. Of particular note in the survey were detailed questions on the number and type of informal caregivers. Institutionalized persons were not interviewed in 1982.
In 1984, a different sampling procedure was utilized. First, all persons who reported chronic disability on the screener or who were screener-noninterviewed due to institutionalization and who survived to 1984 were interviewed regardless of their 1984 functional status. Second, from the original 25,541 persons who did not report functional impairments in 1982 (and who were not institutionalized), a random sample of 47% (~12,100 persons) was drawn and subjected to the same screening procedure as in 1982. Another difference from 1982 was that 5,000 persons who became 65 between 1982 and 1984 were screened so that, in addition to having a longitudinally followed sample in 1984, the full cross-section of persons aged 65 and over in 1984 could be evaluated. In addition, persons who were in institutions in 1984 were interviewed with a specially designed instrument containing a number of questions on institutional use in the interim period and the sources of payment for those services. The interview instrument used for the community population was nearly identical in 1984 to that used in 1982. A final major difference between the 1982 and 1984 surveys was that a "next of kin" interview was conducted for persons who died between 1982 and 1984. This interview collected extensive data on the medical service use and expenditures surrounding death.
These surveys conducted in 1982 and 1984 cannot be fully exploited without considering their linkage to another important data source--Medicare Part A bill files from 1980 to 1985 on Medicare reimbursed hospitalization, home health services and skilled nursing facility use. These files contain bills for individual service episodes and provide a continuous history of the exact date of service use and the amounts reimbursed by Medicare for those services. Each bill in this interval is linked to the corresponding sample person who participated in either the 1982 or 1984 survey.
The dual cross-sectional and longitudinal nature of the 1982 and 1984 NLTCS and the linked Medicare service use files allow us to analyze a broad range of questions. First, they provide an impressive array of data on the community dwelling chronically disabled elderly, a population group at high risk of both extensive acute and LTC service needs. These data can help us estimate the need for LTC services, the actuarial basis of, and markets for, LTC insurance products, the role of "spend-down" for Medicaid qualification for LTC benefits, and the impact of informal caregivers on meeting the national need for LTC services.
In addition to describing the social, economic, functional and health status characteristics of a large (~5 million persons) population group at high risk for significant Medicaid and Medicare services (and for the development of private insurance options to provide parts of those services), the data files provide considerable information on the pattern of utilization and outcome of Medicare Part A (and potentially Medicare Part B) services. That is, the continuous time Medicare service history of individuals whose detailed health and functional characteristics have been determined from the surveys is available. This linkage can allow questions to be examined such as the substitution of home health and skilled nursing facility (SNF) services for acute hospitalization after the introduction of the prospective payment system (PPS) in order to assess how the reduction of the rate of hospitalization and the shortening of hospital LOS affected the nature of the use of these other service options. This can be used to evaluate the impact of such Medicare changes and to design changes, as necessary, in the provision of hospital, home health and SNF services by Medicare.
A third major area where these data can be important is in the study of changes, both for the individual and for the aggregate, in terms of health and functional status. Because of limitations on the availability of longitudinal data, the design of service and insurance options has been constrained. The availability of large amounts of nationally representative data on long term (two-year changes) in health, functional, economic, and social status is an important and unique feature of this data set.
A fourth major use of this data set is to help provide national estimates of LTC service needs by combining national distributions of functional limitations from the survey with very detailed data from select populations in a wide variety of LTC demonstration projects and waivered programs. That is, detailed data on Medicaid and private payment for LTC services are available in the demonstration projects along with data on the effects of those services (and modifications of those services) on a wide variety of social and health outcomes. The problem is to extrapolate those findings from the multiple, local select populations in the demonstrations to the national population. Because the instrumentation of the NLTCS has many measures in common with many of the demonstration projects, there is a lot of information on which to base the extrapolation.
In this introduction we have very briefly reviewed the rationale, structure, content and some potential areas of application of the 1982-1984 NLTCS and linked Medicare files. In subsequent sections we will explore specific technical issues concerning the quality of the survey data and its analysis in more detail.
II. TEMPORAL ORGANIZATION OF THE 1982-1984 NLTCS
We briefly described in the introduction how the samples were constructed for the cross-sectional and longitudinal components of the 1982-1984 NLTCS. A more systematic review of this can be made from Figure 1.
FIGURE 1: unavailable at the time of HTML conversion--will be added at a later date.
In Figure 1 we present a time line for the 1982-1984 (and a proposed 1988) NLTCS which identifies the dates of the surveys, the dates for which Medicare Part A data are to be collected and the survey instruments applied at each date. The 1988 survey is currently in a tentative planning phase. All other elements of the survey and service use data collection are in-place except for the proposed collection of death certificates for decedents over the period 1982 to 1989.
We can see that the sample was originally "frozen" as of April 1, 1982 and contained 35,789 persons. Survey work for round 1 began in June and continued to October 1982 and produced 6,088 responses from the 6,393 persons identified as chronically disabled. In addition to the survey of disabled persons a separate survey of 1,925 caregivers (1,626 continuing caregivers and 299 caregivers who discontinued care) who were identified as having provided care to a subsample of the 6,393 persons who screened into the survey. In addition to the 6,393 community dwelling elderly disabled, 1,992 persons were found to be in institutions, either before April 1 (N=1708) or who became institutionalized between April 1 and the screening date (N=284). Thus, though no interviews in 1982 were conducted of institutionalized persons, and we cannot identify Medicaid and private pay institutionalized persons from the Medicare files, we can identify the total set (N=1992) of institutionalized persons from the screen.
On April 1, 1984, the sample components of the 1984 survey were fixed and field work again conducted between June and October 1984. At this time three survey instruments were applied to nearly 10,000 persons. One instrument was essentially the same questionnaire as was applied to the 1982 community dwelling, disabled elderly population. A second instrument was the institutional questionnaire which allowed us to examine the retrospective reports of the institutional histories of all persons institutionalized on April 1. These reports covered all facets of institutionalization (Medicaid and private pay as well as Medicare). The third type of survey was the "next of kin" questionnaire on health services received during the terminal phase of the illness for deceased persons who were reported as disabled in 1982 and who died in the two-year intervening period. Medicare Part A data cover all service use from January 1, 1980, to currently October 1986.
To get a better understanding of the size of the sample components and their change in sample status between 1982 and 1984, examine Figure 2.
FIGURE 2. Component Sub-Populations of 1982 and 1984 NLTC Surveys: unavailable at the time of HTML conversion--will be added at a later date.
We see several different types of numbers in the figure. First, above each block is a single number which represents the number of persons in that state at that time. Thus, there were 25,541 persons (of 31,934 who were not institutionalized and who responded to at least the telephone screen) who were determined to be non-disabled, community dwellers in 1982. In 1984 there were 14,130 such persons--a number much smaller than the 25,541 because only 47.4% of the 1982 non-disabled group was screened.
Under each block is a set of four numbers. For 1982 these describe the number of persons in that state who ended up in one of the four receiving states in 1984. Thus, 9,220 persons who were non-disabled, aged 65+ and sampled (of the 47.4% of people who were non-disabled in 1982) turned out to be non-disabled in 1984. Of this group, 1,562 became disabled and were interviewed in 1984, 348 persons became institutionalized in 1984, and 970 died.
The corresponding numbers for 1984 tell us where persons in those states come from. Thus, of the 6,182 persons receiving the detailed survey in 1984, 1,562 were not detailed in 1982, 4,114 were people who were disabled in 1982 (but who were not necessarily disabled in 1984--thus long term improvements in health and functional status can be tracked over the two-year period), 53 persons were interviewed in 1984 in the community who were institutionalized in 1982, and 453 persons became disabled and were interviewed from the sample of 4,916 persons drawn from those aged 63 or 64 in 1982. The deceased block shows that a total of 3,219 persons died from the four sample components over the two years.
One issue that arises in evaluating the 1982-1984 NLTCS is that, in order to increase its precision, a two-stage sample capture procedure was used to identify community dwelling disabled persons. Thus, it does not provide detailed survey data on various groups. For example, though it divides the total sample in 1982 into the set of all community disabled persons, the set of all institutionalized persons, and the set of all non-disabled, non- institutionalized persons, it provides no detailed data on non-institutional, non-disabled persons. The characteristics of such persons are described in the recent 1984-1986 Supplement on Aging (SOA)-Longitudinal Supplement on Aging (LSOA) of the National Health Interview Survey. The SOA-LSOA provides far less information on the disabled extremely elderly (only 876 persons over age 85 were identified in 1984) and both smaller numbers (~1,500) and less detailed information on the functionally impaired and the formal and informal care services they receive. Thus, each of these surveys complement one another but provide very different samplings of target populations and very different (and specially tailored) instruments. Likewise, the 1985 NNHS is being followed-up in 1987. That survey gives us much larger numbers and more specialized information than the NLTCS. However, it does not contain a true admission cohort. Thus, the three surveys may be reviewed as complementary in terms of sample coverage and instrumentation. This is illustrated in the coordinated time lines of the three surveys presented in Figure 3.
FIGURE 3. TIME LINES FOR THREE NATIONALLY REPRESENTATIVE LONGITUDINAL SURVEYS: unavailable at the time of HTML conversion--will be added at a later date.
The three sets of longitudinal surveys provide a powerful, and cost effective base battery of surveys to monitor the health and functional status of the elderly population and its consumption of acute and LTC services.
III. RESPONSE RATES AND PATTERNS OF PROXY RESPONSES
Two useful measures of the quality of data in surveys are the rate of non-response and the patterns of response of proxies. This is especially true for the NLTCS because (a) it had large numbers of extreme elderly persons for whom obtaining survey responses is known to be difficult, and (b) the survey had a longitudinal dimension meaning persons have to be tracked over time.
To evaluate these issues we provide two basic types of data. The first are the non-response rates for various sample stages in both 1982 and 1984. There are two types of non-responses to be considered. The first type are the so-called "C" type "non"-responses. Actually, this is a slight misnomer in that these people did not respond because they did not qualify for the sample. The major reasons for not qualifying were (a) death, (b) institutionalization (in 1982 only), and (c) movement out of the sample area. Thus, this type of failure to respond does not represent what we typically view as non-response. The type C non-responses are described in Table 1.
TABLE 1. Number of Ineligible Cases (Type C) by Reason and Survey Instrument Attempled, 1982 and 1984 NLTCS's - '82 Screener Telephone '82 Screener Personal Visit '82 Detailed Community '84 Screener Telephone '84 Screener Personal Visit '84 Detailed Community '84 Institutional Questionnaire Deceased before April 1 390 340 - 537 30 - - Deceased on or after April 1 280 210 67 101 16 - - Institutionalized before April 1 1151 557 0 0 - - - Institutionalized on or after April 1 123 161 57 - - - - Moved outside country before April 1 13 21 - 13 5 - - Moved outside country on or after April 1 5 6 1 - 1 1 1 Moved within country, beyond limit - 81 25 16 32 19 7 Other Type C 72 15 14 47 6 1 - In correctional facility (84 only) - - - 1 - - -
The second type of non-response was labelled "A" type non-response. These represent non- responses due to either failure to locate or contact persons, refusals, or failures of the proxy to be able to respond. The frequency of non-responses is described in Table 2.
TABLE 2. Number of Nonrespondents (Type A) by Noninterview Reason and Survey Instrument Attempted, 1982 and 1984 NLTCS's - '82 Screener Personal Visit '82 Detailed Community '84 Screener Personal Visit '84 Detailed Community '84 Institutional Questionnaire '84 Deceased Questionnaire Telephone '84 Deceased Questionnaire Personal Visit No telephone number 250 - - - - 30 - No answer after repeated calls 7 - - - - 4 - Sample person/proxy temparily absent and proxy unavailable 15 5 21 4 3 1 2 Refused 89 111 92 131 13 12 8 Sample person/proxy unable to respond and proxy unavailable 4 3 2 19 - 7 3 Other Type A 89 15 126 57 16 10 54 Unable to locate - 1 127 5 2 - 27 No one home - - 5 7 1 - 1 NOTE: The '82 and '84 Screeners as well as the '84 deceased questionnaire provided for both telephone and personal visit noninterview reasons. In nonrespondent cases where a reason is given in both categories, the personal visit reason was selected for tabulation.
We can see that the frequency of non-response was very low producing response rates that are extremely high, both for the screening and detailed interview stages, in both 1982 and 1984. The response rates average about 96%. Thus, neither the longitudinal nature of the survey nor the high proportion of the extreme elderly seems to have caused problems in the level of response to the survey.
The second aspect of the response question is the pattern of proxy respondents. This is indicated in Table 3 where, for both 1982 and 1984, and for different levels of disability, we provide the number of responses (a) totally by sample persons, (b) totally by proxy, and (c) for combined sample person and proxy respondents.
TABLE 3. Number of Respondents by Type, By ADL Score, and Senility Status - Non-Disabled IADL Only 1-2 ADL 3-4 ADL 5-6 ADL Senility Senile Nonsenile 1982 Sample Person Answered 418 1,234 1,360 498 252 --- 3,762 Proxy Answered 39 261 318 214 533 495 870 Sample Person and Proxy Answered 41 290 264 125 176 48 763 1984 Sample Person Answered 559 1,329 1,246 500 214 --- 3,848 Proxy Answered 60 237 278 196 480 421 830 Sample Person and Proxy Answered 52 222 226 134 172 34 772
As would be expected the proportion of proxy responses increases as the reported disability level of the individual increase. Furthermore, we see that about 500 persons in 1982 and 1984 had a proxy respondent due to senility. Indeed, the diagnosis of senility was derived from the proxy when the person was found incapable of responding due to cognitive impairment. Of the roughly 6,000 interviews in both years, about two-thirds were totally from sample persons. The pattern of proxy response (i.e., its increase with disability), the small number of non-responses due to proxy failure (Table 2), and the large proportion of non-proxy responses provide an indication of the appropriateness of the use of proxy responses in the survey.
IV. SAMPLE DESIGN AND ITS EFFECT ON THE ANALYSIS OF THE SURVEY
An important factor in the analysis of any survey, but one that frequently generates confusion, is the appropriate use of sample weights in the analysis. This is because sample weights play different roles in different stages of the analysis and because there are several different methodologies for dealing with the effects of sample design in analysis. The issues become more complex in the current study because of its longitudinal nature.
The first set of issues involves the role of weights in various stages of analysis. One stage of analysis has to do with the testing of statistical hypotheses using the survey data. The basic problem is that the samples are not simple random samples but are probability samples, i.e., different populations are drawn with a pre-specified probability to increase the precision of estimates for certain rare populations. Furthermore, in some sample designs, the samples are drawn from spatially designated clusters to reduce costs. Since persons in each cluster will tend to share certain social-economic and residential characteristics this means that their responses will tend to be correlated, i.e., each person cannot be viewed as providing an independent response.
In the NLTCS these problems are minimized because the sample design is relatively simple. In 1982 the population was only stratified on age, sex and race. In 1984 there was the additional complication that only 47.4% of the non-disabled community dwelling persons were screened-adding an additional weighting factor.
The problem in analysis is that stratification and sample clustering (clustering has little effect in this design) affect the estimate of error variance which is used in our test statistics to determine if a particular hypothesis should be accepted or rejected. The analytic problem is to determine how the sample design affects the variance of our parameter estimates. There are two analytic approaches to this problem. The first is to use some model of randomization to increase the error variance to provide a conservative adjustment to our test statistics. There are several analytic computer programs extant that do this for continuous variables in simple regression models. However, given the simple nature of the study design certain simple calculations can be used to adjust variance estimates. This was illustrated by the Census Bureau for the 1982 cross-sectional sample. A table of adjusted factors is provided in Table 4 below.
TABLE 4. "a" and "b" Parameters and "f" Factors for Computing Approximate Standard Errors of Estimated Numbers and Percentages of Persons Characteristic Parameters "f" factor a b Black persons or persons receiving medicaid -.00008227 2094 1.4 All other -.00004027 1025 1
In Table 4 are the parameters for two regression equations. Both were obtained by regressing the estimate on the variance of the estimate for each of two groups, i.e., "blacks or persons receiving Medicaid" and "all others." What one does is take the number of persons having a particular characteristic in 1982 and multiply the square of that number by parameter a, and the number itself by parameter b, and add the two products. The square root of this number is the standard error of the estimate. To illustrate, in the 1982 survey there were estimated to be 1,190,764 aged persons requiring personal help in bathing. The formula described above is, symbolically
Standard error of x = ax2 + bx * f
If, as for the example, f = 1.0, then the calculation is
Standard error of x = (-.00004027)(1,190,764)2 + (1025)(1,190,764) * (1.0)
or, 34,109.
Thus, the one standard deviation (68%) confidence interval, is ±34,109 or 1,156,655 to 1,224,873. The 95% confidence interval would be ±2*(34,109). For the confidence interval of differences one uses
Standard error of difference = s2x + s2y - 2r * (sx * sy)
where sx and sy are the standard errors of the two estimates to be compared and r is the correlation coefficient (which can often assumed to be zero). Alternatively, for the 1982 tables, the standard errors of both numbers and percentages were calculated. These are presented in Table 5.
TABLE 5 A. Standard Errors of Estimated Percentages of Persons Base of estimated percentage (thousands) Estimated Percentage 2 or 98 5 or 95 10 or 90 25 or 75 50 25 2.8 4.4 6.1 8.8 10.1 50 2.0 3.1 4.3 6.2 7.2 100 1.4 2.2 3.0 4.4 5.1 250 0.9 1.4 1.9 2.8 3.2 500 0.6 1.0 1.4 2.0 2.3 750 0.5 0.8 1.1 1.6 1.8 1000 0.4 0.7 1.0 1.4 1.6 2000 0.3 0.5 0.7 1.0 1.1 3000 0.3 1.4 0.6 0.8 0.9 4000 0.2 0.3 0.5 0.7 0.8 5000 0.2 0.3 0.4 0.6 0.7 B. Standard Errors of Estimated Numbers (in thousands) Size of Estimate Size of Estimate Standard Error Size of Estimate Standard Error Size of Estimate 25 5.1 1000 31.4 50 7.2 2000 43.5 100 10.1 3000 52.1 250 15.9 4000 58.8 500 22.4 5000 64.2 750 27.3 - -
The numbers in these tables need to be multiplied by the appropriate "f" values in Table 4. We do not yet have similar tables for the 1984 survey. However, knowing the size of the various sub-samples in 1982 we can present the coefficient of variation for different of the 1982 subsamples (i.e. 10,250 is the number of non-disabled persons planned to be screened in 1984; N=6,089 was approximately the number of persons interviewed in 1982; 1,712 was the number of persons institutionalized before April 1, 1982, and 856 and 428 are half and a quarter of that number). These numbers are presented in Table 6.
TABLE 6. CV's for Variance Rates and Sample Sizes Sample Size Rate CV - n = 10,250 1% .127 1.6% gives a 10% CV 5% .056 10% .038 25% .022 50% .013 n = 6,089 1% .165 2.7% gives a 10% CV 5% .072 10% .050 25% .029 50% .017 n = 1,712 1% .311 8.9% gives a 10% CV 5% .136 10% .094 25% .054 50% .031 n = 856 1% .439 16.3% gives a 10% CV 5% .193 10% .133 25% .077 50% .044 n = 428 1% .622 28.1% gives a 10% CV 5% .272 10% .187 25% .108 50% .062
An alternative approach to adjusting error variance estimates for sample design effects is based upon the realization that many of these design effects may be of substantive interest. Thus, an alternative approach is to explicitly model the design factors as part of one's analysis so that design effects are explicitly represented. Such an approach has the advantage of helping us better understand the mechanisms generating the phenomenon but the disadvantage of requiring that the correct model be developed. Though it may seem tedious and difficult to search for the "correct" model, rather than using a "general" model of randomization, it should be realized that only by producing the correct model can one really generalize the parameter estimates made beyond the particular sample, i.e., either to the general population or in forecasts of future needs. Thus, in many more situations than normally realized, the search for a model based adjustment for complex sample design effects is a necessity.
A second analytic stage where sample weights are used is in "post" weighting, i.e., where one wishes to recombine parameter estimates for sub-groups to produce the parameter estimates for the total population that was sampled. This usually involves re-weighting the data to reflect the inverse of the probability of selection. This is actually a purely algebraic procedure that is independent of the methods to calculate the effects of sample weights on statistical inferences.
V. EXPLOITATION OF THE LONGITUDINAL NATURE OF THE SURVEYS AND LINKED MEDICARE SERVICE DATA
In this section we discuss how the cross-temporal nature of the file can be exploited in several types of analyses of transition. The longitudinal nature of the file can be exploited in several ways. The first, and most basic, is simply to analyze changes in characteristics between 1982 and 1984. This is illustrated in Table 7 for disability and institutional status.
TABLE 7. Percentage Distribution of Case Status in 1984 by Case Status in 1982 1982 Status 1984 Status Nondisabled IADL Only 1-2 ADL 3-4 ADL 5-6 ADL Institutional Deceased - Nondisabled 79.66 4.54 3.17 1.12 1.02 1.76 8.73 100.00 IADL Only 12.18 39.39 19.13 4.73 4.20 5.66 14.72 100.00 1 or 2 ADLs 7.10 14.10 32.87 12.36 6.35 7.49 19.73 100.00 3 or 4 ADLs 4.74 4.13 17.22 22.05 18.62 9.98 23.26 100.00 5 or 6 ADLs 4.13 4.49 7.19 8.84 30.00 9.60 35.75 100.00 Institutional 1.48 1.06 0.95 1.07 1.05 53.71 40.67 100.00 Aged-in 89.85 3.08 2.23 1.45 1.32 0.94 1.13 100.00 - All Cases in 1984 60.32 7.06 6.80 3.28 3.39 6.81 12.35 100.00 All Cases in 1982 63.28 8.52 9.70 4.21 4.74 9.56 0.00 100.00 Totals may not add to 100.00 due to rounding.
Down the left hand side of the table we present the percentage distribution of persons (weighted counts) by their status in 1982. Across the table we provide the status (including death) of persons in 1984. We see that the largest proportion of persons remain in the same state that they were in 1982, or, for the most disabled, they experienced high death rates. Interestingly, there are also sizeable numbers of persons who had long term (2+ years) functional improvements. For persons with 5 to 6 ADL's in 1982 nearly a quarter improved status by 1984. Given the high mortality rate for persons with this level of impairment (~36%) and only a moderate level of institutionalization, this suggests that the functional impairment is driven by an acute morbid condition that often produce death, but also often result in improved LTC functional status.
This table can also be stratified by other variables. For example, in Table 8, we have decomposed changes in disability by age.
TABLE 8. Percentage Distribution of Case Status in 1984 by Case Status in 1982, By Age 1982 Status 1984 Status Nondisabled IADL Only 1-2 ADLs 3-4 ADLs 5-6 ADLs Institutional Deceased Nondisabled 65 to 74 years 86.38 3.56 1.91 0.88 0.63 0.58 6.06 75 to 84 years 71.30 6.21 4.75 1.34 1.47 2.93 12.01 85+ years 45.39 7.30 9.51 2.71 3.14 9.33 22.61 IADL Only 65 to 74 years 17.00 45.09 16.47 3.67 3.49 3.15 11.13 75 to 84 years 10.32 35.93 20.85 5.53 4.40 7.14 15.84 85+ years 1.58 30.55 22.90 5.93 5.97 9.66 23.41 1 or 2 ADLs 65 to 74 years 8.91 17.84 35.60 12.66 5.73 4.35 14.90 75 to 84 years 6.95 13.92 33.22 11.05 4.97 7.72 22.18 85+ years 4.19 7.81 27.37 14.32 10.06 12.61 23.64 3 or 4 ADLs 65 to 74 years 7.56 5.68 24.07 24.56 15.20 4.62 18.33 75 to 84 years 3.85 3.60 16.37 21.47 19.35 11.93 23.43 85+ years 1.44 2.40 6.96 18.78 23.22 15.77 31.43 5 or 6 ADLs 65 to 74 years 5.24 7.05 8.90 10.07 31.70 6.10 30.95 75 to 84 years 4.87 4.39 6.54 8.80 30.24 10.96 34.20 85+ years 1.22 0.70 5.60 6.99 26.98 12.81 45.71 Institutional 65 to 74 years 4.05 1.41 1.99 2.30 1.42 60.26 28.57 75 to 84 years 1.53 1.67 1.37 0.89 1.25 55.25 38.03 85+ years 0.35 0.35 0.13 0.71 0.70 49.50 48.26
In Table 8 we see that there are decided shifts with age to higher levels of disability and that, at advanced ages (85+) there is a lower proportion of persons who improve and a higher proportion who become more disabled.
The above discrete state, discrete time description of transitions can become unreliable as one attempts to stratify those transitions by more than one additional variable (e.g., stratify them by age and marital status and the cell sizes become small). To deal with this problem it is necessary to use some type of regression model where the transitions are made functions of a set of covariates. Usually, in order to conduct such modeling, some assumptions have to be made about the form of the dependency of the transitions on the covariates (e.g., in the Cox regression model it is assumed that each covariate has a proportional impact on the transitions).
Such models simply describe the probability of a change in state, as the states are described in the survey, over the two-year period. Obviously, this does not tell us how to exploit the rich data on the use of different types of Medicare Part A services over the two-year period. These data can be exploited to different degrees by models with different degrees of sophistication.
One approach is to simply aggregate different types of service use over specified periods of time. The problem with this approach is that it can produce severely misleading results due to the fact that events like death--or even other types of service use--represent constraints on the amounts of specific types of services that an individual consumes in a given period of time. Thus, a person who was in a nursing home for a year and used 20 days of home health care in a two-year period, used home health care twice as fast when eligible as a person who, in a two-year period used no other type of service.
To account for these differences in exposures, one must calculate life table type measures of ex- posure for each of the types of services. In these life tables one can deal with the constraints that death, or consumption of other types of services, represents. An illustration of these types of life tables is presented in Figure 4.
FIGURE 4. HOSPITAL EPISODES: unavailable at the time of HTML conversion--will be added at a later date.
What we have done is to plot the proportion of persons who stay a given number of days in hospitals in 1982 and in 1984 for (a) community disabled persons, (b) persons in institutions at the time of the survey, (c) non-disabled, non-institutionalized persons, and (d) a residual group of non-respondents. To read the table note that the vertical axis describes the proportion of all hospital admissions in the specified year who were still in the hospital after X days. The horizontal axis represents the hospital LOS in days. We see that, in both 1982 and 1984, all groups experienced a decline in LOS and that non-disabled persons had the shortest stays, community disabled the next shortest stays and institutionalized persons the third longest stays, i.e., the hospital LOS was correlated with severity of the chronic conditions the person had. In calculating such tables one has to be careful to post-weight observations, and to deal with "exposure" weights based upon when the survey was conducted in the year, or misleading results may be produced.
These life tables can be used to describe how different types of services are used in a specified period of time after adjusting for exposure differences. To combine that longitudinal information with data from the surveys on chronic functional and health problems can be done by certain multivariate procedures.
VI. FILE STRUCTURE AND ACCESS
The public use form of the NLTCS is found on two separate tape files. The first is a rectangular tape file which contains, on a person based record, all survey data for persons in the longitudinal two cross-sectional samples (N=25,401). A rectangular file was created in order to facilitate the processing of the tape by persons with limited programming resources. That is, the original version of the file released from the Census Bureau has six record types (sample person, caregiver/children, and household members, separate by survey year). Each of these files has different numbers of cases. In order to use the data from the caregiver file with data on the individual, one had to write a program linking across the two record types. In the current file all record types are already linked together in one large record. Clearly we have attempted to trade off between a less compact form of data storage (there will be many more blank fields in such a rectangularized file) for greater ease in processing.
The second type of file is that containing the Medicare Part A bill files. This file is not person based since there can be up to 120 bills for a given person. Rather this file is bill-based and retains all the data (e.g., exact beginning and end dates) for each service episode. Certain standard edits have been performed on this file. Within each individual the bills are sorted by transaction type, then admission date. Thus, to use the bill data with the survey record one must perform the linkage operation using special survey identifiers that are found on both files.
The two files are available separately in EBCDIC form on 6250 bpi tape with standard labels from NTIS. The documentation includes instructions to the interviewers, copies of all survey instruments, instructions on sample weight calculations, and detailed codebooks on the rectangular survey and bill files. In addition there is a technical write-up on the creation of the file and its logical structure.
VII. SUMMARY
The 1982 and 1984 NLTCS are large nationally representative surveys of a target population at high risk for high levels of both acute and LTC services. In addition the survey files are linked to Medicare Part A records. These surveys and linked files represent an extremely rich data source describing all the health and functional transitions of individuals in this population, detailed characteristics on the person at the time of the survey and detailed data on informal caregivers. These files can provide extremely valuable information on the service needs of the LTC population, changes in those needs and associated acute care needs.
II. NATIONAL LONG TERM CARE CHANNELING DEMONSTRATION
Judith Wooldridge, George Carcagno, Shari Miller Dunstan, and Nancy Holden, Mathematica Policy Research
Peter Kemper, National Center for Health Services Research, U.S. Department of Health and Human Services
I. OVERVIEW
In September 1980 the National Long Term Care (LTC) Demonstration--known as channeling-- was initiated by three units of the United States Department of Health and Human Services--the Office of the Assistant Secretary for Planning and Evaluation (ASPE), the Administration on Aging, and the Health Care Financing Administration. It was to be a rigorous test of comprehensive case management of community care as a way to contain the rapidly increasing costs of LTC for the impaired elderly while providing adequate care to those in need.
A. The Intervention
Channeling was designed to use comprehensive case management to allocate community services appropriately to the frail elderly in need of LTC. The specific goal was to enable elderly persons, whenever appropriate, to stay in their own homes rather than entering nursing homes. Channeling financed direct community services, to a lesser or greater degree according to the channeling model, but always as part of a comprehensive plan for care in the community. It had no direct control over medical or nursing home expenditures.
Channeling was implemented to work through local channeling projects. The core of the intervention (i.e., case management) consisted of seven features:
Outreach to identify and attract potential clients who were at high risk of entering a LTC institution.
Standardized eligibility screening to determine whether an applicant met the following preestablished criteria:
Age: had to be 65 years or older.
Functional disability: had to have two moderate disabilities in performing activities of daily living (ADL), or three severe impairments in ability to perform instrumental activities of daily living (IADL), or two severe IADL impairments and one severe ADL disability. Cognitive or behavioral difficulties affecting ability to perform ADL could count as one of the severe IADL impairments.
Unmet needs: had to have an unmet need (expected to last for at least six months) for two or more services or an informal support system in danger of collapse.
Residence: had to be living in the community or (if institutionalized) certified as likely to be discharged within three months.
Medicare coverage: for the financial control model, had to be eligible for Medicare Part A.
Comprehensive inperson assessment to identify individual client problems, resources, and service needs in preparation for developing a care plan.
Initial care planning to specify the types and amounts of care required to meet the identified needs of clients.
Service arrangement to implement the care plan through the provision of both formal and informal in-home and community services.
Ongoing monitoring to ensure that services were appropriately delivered and continued to meet client needs.
Periodic reassessment to adjust care plans to changing client needs.
Two models of channeling were tested. The basic case management model relied primarily on the core features. The channeling project assumed responsibility for helping clients gain access to needed services and for coordinating the services of multiple providers. This model provided a small amount of additional funding to purchase direct services to fill in gaps in existing programs. But it relied primarily on what was already available in each community, thus testing the premise that the major difficulties in the current system were problems of information and coordination which could be solved largely by client-centered case management.
The financial control model differed from the basic model in several ways:
It expanded service coverage to include a broad range of community services.
It established a funds pool to ensure that services could be allocated on the basis of need and appropriateness rather than on the eligibility requirements of specific categorical programs.
It empowered case managers to authorize the amount, duration, and scope of services paid out of the funds pool, making them accountable for the full package of community services.
It imposed two limits on expenditures from the funds pool. First, for the entire caseload, average estimated expenditures under care plans could not exceed 60 percent of the average nursing home rate in the area. Second, for an individual client, estimated care plan expenditures could not exceed 85 percent of that rate without special approval.
It required clients to share in the cost of services if their income exceeded 200 percent of the state's Supplemental Security Income (SSI) eligibility level plus the food stamp bonus amount.
Ten sites participated in the demonstration. Their model designations were:
Basic Case Management Model Financial Control Model Baltimore, Maryland Cleveland, Ohio Eastern Kentucky Greater Lynn, Massachusetts Houston, Texas Miami, Florida Middlesex County, New Jersey Philadelphia, Pennsylvania Southern Maine Rensselaer County, New York
The ten local projects opened their doors to clients between February and June of 1982, and were fully operational through June of 1984.
The goal of the evaluation, in addition to documenting the implementation of channeling, was to identify its effect on:
The use of formal health and LTC services, particularly hospital, nursing home, and community services.
Public and private expenditures for health services and LTC.
Individual outcomes, including mortality, physical functioning, unmet service needs, and social/psychological well-being.
Caregiving by family and friends, including the amount of care provided, the amount of financial support provided, and caregiver stress, satisfaction, and well-being.
To compare channeling's outcomes with what would have happened in the absence of channeling, the evaluation relied on an experimental design. Applicants found eligible for channeling were randomly assigned either to a treatment group or to a control group. In all, 6,341 persons were randomly assigned.
Several data sources were used. These included telephone and in-person surveys of the elderly members of the research sample and, for a subset, their primary informal caregivers; Medicare, Medicaid, channeling project, and provider records; and official death records obtained from state agencies. Finally, federal, state, local, and project staff were interviewed about the implementation and operation of the demonstration (these data are not included in the public use files).
B. The Nature of the Data
Some researchers will want to use the data to replicate the channeling results or explore certain issues in greater depth. They will simply have to master the complexity of the data base. Others will be interested in using the data to support efforts far removed from the original purposes of the evaluation. This section is written primarily for this latter group.
The channeling sample was designed to support the evaluation, it was not designed to be a statistically representative sample of the elderly. The sample consists of frail persons who voluntarily applied to channeling and were found to meet the demonstration's eligibility criteria. Channeling sought referral sources and engaged in outreach activities to identify applicants at risk of institutionalization. Hospitals, home health agencies and social service providers were the major referral sources. A breakdown of the referral sources is presented in Table 1.
TABLE 1. Referral Sources of Persons Screened as Eligible for Channeling (percent) Referral Source Basic Case Management Model Financial Control Model All Sites Health-Service Provider
Hospital
19.4 26.0 22.7
Home health agency
11.3 22.4 16.9
Nursing home a
2.4 1.6 2.0 Family/friend/self 34.8 22.1 28.4 Social Service Agencies
Senior center/nutrition
3.4 9.0 6.2
Casework/case management
5.8 4.7 5.3
Welfare/Medicaid
5.1 2.3 3.7
Information and referral
4.5 0.8 2.6 Channeling Outreach 1.0 2.8 1.9 Other b 12.2 8.3 10.3 Total 100.0 100.0 100.0 SAMPE SIZES: Basic model 3,336; financial model 3,386.
Includes referrals from nursing home preadmission screens, which accounted for 0.6 percent of total referrals, and nursing home waiting lists, which accounted for 0.3 percent of total referrals.
Includes referrals from physicians, homemaker services, home-delivered meals agencies, psychiatric facilities, counseling services, legal advocacy services, adult day care, and a category simply recorded as other.
To determine whether channeling participants were similar to the national population of the disabled elderly, we compared the baseline characteristics of the channeling sample with a nationally representative sample of the elderly. Using data from the National Long Term Care Survey (NLTCS), we simulated channeling's eligibility process to identify a subsample who were eligible for channeling. The simulation was done by selecting individuals who would have qualified according to the channeling ADL or IADL criterion. We thus ended up with a subsample from the NLTCS who, at least according to the measures of functioning, resembled the channeling sample. On the basis of that simulation, we estimated that 4.9 percent of the total noninstitutionalized population age 65 or over in 1982 qualified for channeling.
The main differences between the channeling sample and the simulated nationally eligible sample were in living arrangements, income, and formal service use (see Table 2). Channeling clients were more likely to live alone and less likely to be married. Their use of regular informal in-home care was about the same as for the simulated national sample. The income of the channeling sample was lower than the income of the national sample. Substantial differences were found in every measure of formal service use. Before the receipt of channeling services, compared to the simulated national sample, channeling sample members were almost twice as likely to be receiving formal in-home services, more than twice as likely to have had a hospital stay in the last two months, more than six times as likely to have been in a nursing home, and almost five times as likely to have been on a nursing home waiting list. These differences provide strong support for the argument that persons often came to the attention of channeling because of some precipitating event and were probably more closely connected with the community care system as a result. The occurrence of such an event may have been a major factor that differentiated those who applied for channeling from those who did not.
TABLE 2. Characteristics of Channeling Sample Compared with Nationally Simulated Sample That Was Functionally Eligible for Channeling - Channeling Simulated National Eligible Sample Functioning ADL (percent)
Eating
25.0 20.6
Transfer
52.7 45.2
Toileting
56.3 41.3
Dressing
60.6 63.9
Bathing
78.8 86.2 IADL (percent)
Meals
88.0 78.9
Housekeeping
97.4 68.3
Shopping
95.6 92.7
Money management
70.0 62.1
Telephone use
54.6 46.3 Incontinent (percent) 53.1 53.8 Mental functioning (number incorrect 1-10) 3.5 2.3 Informal Supports Pecent living alone 37.2 16.6 Regular informal in-home care (percent) 92.0 96.0 Percent married 32.4 46.1 Demographics Mean age 79.7 78.5 Percent female 71.3 63.0 Monthly income (dollars) 570 644 Formal Service Use Any formal in-home care (percent) 60.6 33.9 Any hospital stays (last two months) 48.7 20.1 Any nursing home admissions (last two months) 5.9 0.9 Percent on nursing home wait list 6.8 1.4
We also compared the demographic and economic characteristics of the entire aged population in the channeling sites with the characteristics of the entire aged population of the country. As a group, the demonstration sites were broadly similar to the nation as a whole. The only characteristics on which they differed markedly was the proportion who were of Hispanic origin (4.6 percent of the channeling sample were Hispanic, compared with 2.7 percent of the national elderly population). This resulted mainly from the fact that a third of the aged individuals in Miami were of Hispanic origin. Despite the general correspondence with national data, as one might expect, there was substantial variation across sites and models.
With respect to the economic resources of the aged population in the channeling sites, monthly median family income was similar to the national data, although there were more people below the poverty threshold in the basic model than in the United States as a whole, and fewer below that level in the financial control model. The proportion of aged in the demonstration states enrolled in Medicare and monthly Medicare expenditures per aged resident were similar to the national data. For Medicaid participation, the basic states had slightly more people receiving Medicaid, and the financial control states somewhat less, than the national average. Monthly Medicaid expenditures per aged resident were somewhat less than the national average in the basic model states and somewhat greater in the financial control states because of high expenditures in New York and Massachusetts.
To this point the focus has been on comparing the characteristics of the research sample and the aged population in the channeling sites to the national elderly population. What about the sites' service environments, were they broadly representative of the service environments throughout the country? This is a tougher issue to address because comparative data are not readily available. On the basis of an examination of nursing home bed supply data and data on waiting times to nursing home admission collected in the demonstration, we concluded that nursing home beds were probably somewhat less available in the channeling sites than in the nation, although we do not believe this had a major effect on demonstration outcomes.
Data on the availability of community care are even more limited. We do know that there was substantial control group use of both comprehensive case management services (10-20 percent) and of community in-home services (60-69 percent). The demonstration projects applied to participate in the demonstration and were selected through a competitive process, and it could be that their case management and community care systems were more developed than those in other sites. Users of the data base should consider whether such differences could affect their research results.
Taken together, these comparisons indicate that, even though the channeling sample is not a statistically representative sample of the frail elderly, the data can be used for applications unrelated to the evaluation as long as the differences that do exist between the channeling sample and one that would be broadly representative are not central to a particular application, and as long as careful attention is paid to the limitations of the data set.
In using the data, the treatment and control groups can be exploited in useful ways. The control group data tell us what occurred in the sites in the absence of channeling. For example, the control group data reveal what services people who were eligible for channeling were using at the time channeling was in operation. The treatment group data indicate what services people used in response to the channeling intervention, although for this purpose, the model differences are obviously critical. These data could be used as the basis for estimating, for example, the cost of a new benefit, although such an exercise requires using a great deal of judgment in evaluating the similarities and differences between channeling and its participating population and whatever program and population are being analyzed. Furthermore, estimates of program participation must be made, a critical task which cannot be addressed using the channeling data. If possible, when using the channeling data for purposes unrelated to evaluating channeling, other data sources should be used and care taken to evaluate the effects of changing key assumptions.
The channeling data base is very comprehensive and detailed. In exchange for that richness, one gives up representativeness. Nevertheless, it can be a very useful source of data in support of applications far removed from the evaluation of channeling.
II. DEVELOPMENT OF THE DATA BASE
One of the goals of the evaluation was to produce data for public use after the initial evaluation was completed. Thus, in developing the project data files and documentation, we always had the outside uses in mind. The principles followed in selecting data for public use were as follows:
All data that were used in the analyses should be available so that evaluation analyses could be replicated from the files.
Principle (1) should be achieved subject to maintaining the confidentiality of data.
As much data as possible should be included in the public use files.
Although the preparation of the public use files was always planned, their implementation occurred over the last six months of the project, to ensure that all variables used in analyses were available and documented for inclusion in the files.
The public use files were prepared from the project's data base. This data base was designed in the first 18 months of the project, and implemented in March 1982 at the time that screening and sample member randomization began. As new instruments were designed, pretested, and cleared by OMB, the data base was expanded to include new files.
Sample intake occurred over a period of 15 months, and primary data collection continued until July 1984, providing up to 18 months of followup. Secondary data associated with the followup period (claims data, death records, and provider records) continued to be acquired over the ensuing four months.
III. SAMPLE
A. Sample Design
To compare the outcomes of channeling with what would have happened in the absence of channeling, the evaluation relied on an experimental design. Elderly persons who were referred to each channeling project were interviewed (most by telephone) by the project staff to determine their eligibility for channeling. If eligible, they were randomly assigned either to a treatment group, whose members could participate in channeling, or to a control group, whose members continued to rely on whatever services were otherwise available in their community. A total of 6,341 persons were randomly assigned to the two models of channeling. Given the substantial death rate among this population, as well as interview noncompletion, this yielded research samples of varying sizes, depending on the analysis. Table 3 shows the maximum sample sizes available for different subject areas for each model.
TABLE 3. Subject Areas, Data Sources, and Maximum Sample Sizes - Primary Data Sources Maximum Sample Sizes Basic Case Management Financial Control 6 Months 12 Months 18 Months 6 Months 12 Months 18 Months Formal Community Care Individual Interviews 1647 1377 520 1803 1475 546 Nursing Home Use Medicare/Medicaid Records, Provider Records 2184 1876 741 2409 2023 774 Hospitals and Other Medical Services Medicare/Medicaid Records, Provider Records 2712 2291 1037 2842 2406 1017 Client Quality of Life Individual Interviews 1937 1671 647 2061 1745 668 Mortality Death Records Searches 3124 3124 1619 3202 3202 1546 Caregiver Quality of Life Caregiver Interviews 515 401 --- a 612 469 --- a Costs Medicare/Medicaid Records, Provider Records, Channeling Project Cost Records, Individual Interviews --- b --- b --- b --- b --- b --- b Informal Care Individual Interviews 1605 1345 510 1767 1456 534 Caregiver Interviews 515 401 --- a 612 469 --- a NOTE: Maximum sample sizes are the number of observations available for analysis in each area, except for a small number of observations lost due to item nonresponse for some measures.
Informal Caregiver Survey was not repeated at 18 months.
The cost analysis combines estimates from the analyses of the other subject areas.
B. Sample Characteristics
The channeling sample was elderly and frail, with severe functional, health, social, and financial problems. This was by design; the eligibility criteria for the sample were intended to identify persons who were at risk of nursing home placement. The characteristics of the channeling clients at baseline are shown in Table 4.
TABLE 4. Characteristics of Channeling Treatment Group at Baseline - Basic Case Management Model Financial Control Model All Sites Health and Functioning Any disability in ADL (percent) 83.4 84.2 83.9 Number of ADL disabilities (maximum 5) 2.7 2.8 2.7 Incontinent (percent) 52.5 53.6 53.1 Any impairment in IADL (percent) 99.5 99.8 99.7 Mental functioning (number incorrect on 10-item scale) 3.4 3.5 3.5 Days restricted to bed in last two months 19.5 20.1 19.8 Sociodemographic Characteristics Living alone (percent) 35.1 39.1 37.2 Age (years) 79.2 80.1 79.7 Ethnic group (percent white) 75.6 71.1 73.3 Sex (percent female) 71.9 70.6 71.2 Married (percent) 31.9 32.9 32.4 Income and Assets Monthly income (dollars) 567 572 570 Owns home (percent) 44.7 38.9 41.7 No assets other than home (percent) 59.4 55.1 57.2 Medicaid coverage (percent) 20.4 23.7 22.1 Life Quality Stressful life event in past year (percent) Often lonely (percent) 27.0 25.7 26.3 No social contacts in past week (percent) 9.4 10.2 9.8 Number of unmet needs (maximum 8) 3.3 4.0 3.7 Not very satisfied with life (percent) 39.5 47.4 43.7 Waitlisted or applied to nursing home (percent) 7.3 6.3 6.8 Unwilling to go into nursing home (percent) 63.4 67.3 65.5 Prior Service Use Case management received (percent) 8.8 16.9 13.1 Regular formal in-home care (percent) 57.4 63.5 60.6 Regular informal in-home care (percent) 92.5 92.0 92.2 Hospital admission, past two months (percent) 47.2 49.9 48.7 SAMPLE SIZES: Basic model 1,638; financial model 1,815.
IV. DATA SOURCES AND DATA COLLECTION PROCEDURES
Both primary and secondary data were collected for the channeling evaluation. These data were collected from the following sources:
Interviews with sample members and proxies
Interviews with informal caregivers
Provider records
Medicare and Medicaid claims
Death records
Client tracking records
Financial control system at five sites.
This section reviews the primary data collection and provider records extracting procedures.1 The data collection through surveys, the means of collection, and the interviewer auspices were as follows:
Screen, telephone interview, administered by demonstration screening unit.
Sample member baseline, personal interview, administered by demonstration assessment staff (for clients) or MPR interviewers (for controls).
Sample member followup interviews (6, 12, and 18 months), personal or telephone interview, administered by MPR interviewers.
Caregiver baseline and followup interviews (6 and 12 months), personal or telephone interview, administered by MPR interviewers.
Provider record extracts, collected by trained extractors.
Training materials and procedures for the baseline were developed by MPR in conjunction with Temple University, the demonstration's technical assistance contractor, and all trainers were trained by MPR and Temple staff. Demonstration screen and sample member (client) baseline interviewers were trained by Temple University. All MPR interviewers and extractors were trained by MPR project staff. To assess the comparability of the baselines administered by demonstration and MPR staff, a random validation sample of clients was administered a baseline by both demonstration and MPR staff.
Training was intensive for all instruments. For example, MPR baseline interviewers received five days of training that covered the instruments, procedures, sensitivity training, practice sessions, and evaluation of interviews. The demonstration baseline interviewer staff received the same training plus instruction on collecting clinical data for case management. Sample member followup interviewers were provided with comparable training, augmented by special training on searching for respondents and determining living arrangements. For the caregiver instrument, additional special training was provided on techniques for identifying appropriate caregivers, procedures to follow if the sample member was deceased, and techniques for telephone interviewing. Provider records extractor training covered the use of a provider characteristics instrument and procedures for extracting service use, charge, and reimbursement data from provider records. Respondent payments were made to control group members for baseline interviews and all sample members for followup interviews.
Completion rates for the interviews and provider records extraction are listed in Table 5. If deceased sample members are removed from the calculation, the response rates were uniformly high, at 76 percent or more.
TABLE 5. Completion Rates by Instrument Instrument Treatment Control Total Sample Members Baseline 93.3 82.9 88.9 6-Month Followup 75.2 a 73.4 a 74.5 a 12-Month Followup 65.8 a 62.7 a 64.6 a 18-Month Followup 56.6 a 55.0 a 55.9 a Caregivers Baseline 71.2 83.6 76.0 6-Month Followup 82.4 77.7 80.4 12-Month Followup 82.4 75.6 79.4 Community Service Provider Records Extract --- --- 85.5 Institutional Service Provider Records Extract --- --- 82.8
The major reason for nonresponse was that the sample member had died. The percent of the sample not responding because deceased was 16.5 percent at 6 months, 26.6 percent at 12 months, and 40.9 percent at 18 months.
V. DATA PROCESSING
Each of the public use files was derived from one or more data base masterfiles, which, in turn, were created and maintained according to a standard set of procedures. These procedures transformed source data from data entry files into a structured data set, edited the data, and created a set of constructed variables.
A. Interview Data Procedures
Because these data were collected over a period ranging from one to two-and-a-half years, depending upon the data source, data were regularly added to the data base. Each cycle of data processing included the following steps: quality control checks of hard-copy interview forms; data entry; transmission of data to the research data base; quality control checks of computerized data; and the updating of both the status file and the existing masterfiles. Figure 1 summarizes these components.
FIGURE 1. Standard Data Manipulation Procedures: unavailable at the time of HTML conversion--will be added at a later date.
Quality Control and Data Entry. Completed instruments were manually edited and coded by trained quality control staff. This included checking the legibility of contact information, assigning codes to open-ended and "other, specify" responses, and reviewing key questions to ensure they were properly recorded. If necessary, project staff or respondents were contacted to resolve problems.
After the documents had been read, they were entered into the computer. Automated skip logic, range, and consistency checks were performed as part of the key entry program. When errors were found, a trained data cleaner reviewed the instrument (if necessary, the cleaner telephoned the respondent or interviewer) and corrected the error in the instrument and on the file. Finally, once a batch of interviews had passed the skip logic, range, and consistency checks, the batch was verified by reentry.
Data Transmission and Initial Processing. Every month, all data-entered instruments were transmitted to the mainframe computer in Extended Binary-Coded-Decimal Interchange Code (EBCDIC) format. During the initial processing of the newly transmitted data, this file was transformed into a structured intermediate SAS data set. The project status file was also updated at this time with new status information. In addition, the intermediate file picked up the data base ID and randomization information from the status file for each record. Finally, confidential variables (such as Medicare and Medicaid numbers) were added to a separate Medicare/Medicaid status monitoring file.
Frequency distributions and other descriptive statistics were generated for each variable. In addition, range checks and further checks on consistency which were beyond the capacity of the data entry program were performed. For example, in processing each file, we printed selected variables for cases which appeared to have more than one interview (such as a complete and an incomplete interview).
Data Entry. Potential errors identified through a review of descriptive statistics were resolved by reviewing the hard-copy questionnaire and/or consulting with the quality control staff (who recontacted the interviewer or respondent when necessary). Some "errors" (for example, some out-of-range responses) proved to be correct, and the values were retained in the data base. The frequency and nature of each type of error were documented, as was its resolution. In this way, resolution decisions could be consistent and based on precedent, where applicable.
Masterfile Maintenance and Updating. After inconsistencies in the intermediate file were resolved, the current masterfile was updated with the new observations. For each of the new observations added to the masterfile, certain descriptive variable values were converted into standard binary codes. Once the masterfile had been updated with the new observations, frequencies of the new masterfile were produced, reviewed, and distributed periodically to the research staff.
Once-Only Procedures. After all the completed research sample interviews had been processed and added to a masterfile via the process outlined above, a final review of the complete masterfile was undertaken. The same range and consistency checks used in initial processing were applied to the complete masterfile. In addition, descriptive statistics of all variables in the final masterfile were closely reviewed and distributed to research staff.
Other Data. Comparable procedures were followed in processing secondary data into masterfiles.
B. Developing Analysis Files
One of the products generated from the data base masterfiles was a set of analysis files--files which contain only the sample and variables of interest for a particular analysis. Because analysis files are smaller than masterfiles, their contents can easily be accessed for use in statistical analysis procedures. Some of the public use files were generated from analysis files. This section describes three steps in the creation of the research data base analysis files.
Selecting the Samples. A set of standard samples was defined in order to facilitate consistency across analyses. Once a standard sample was defined, a binary variable, or "sample flag," was created and permanently stored in the status file, facilitating the selection of the standard sample for use with any masterfile. In addition, since some analyses used subsets of the standard samples, many individual analysis files contained sample flags and data for several samples, allowing analyses of several samples.
Specifying and Programming Constructed Variables. Initial specifications of constructed analysis variables (both dependent and independent) were prepared by the analysts. These preliminary specifications were reviewed and modified by the research data base staff, in consultation with the analysts. Constructed variables were programmed, variable labels defined, and descriptive statistics produced and reviewed for each variable.
Extracting and Merging Data from Masterfile. Analysis files were generally "extracts" (i.e., sub- sets) of masterfiles. These extracts were based on defined samples that were selected using standard sample flags. However, some analysis files required data from more than one masterfile (for example, client tracking and status change masterfiles and caregiver and sample member masterfiles). In these cases, extracts of each file were merged together, so that a single case contained the correct information from each file.
VI. PUBLIC USE FILES
There are 14 separate public use files, nine based on survey instruments, four based on analysis files and the project status file. Table 6 summarizes the content of the files at a general level and describes the purposes for which the data were collected.
TABLE 6. Summary of Public-Use File Contents Public-Use File Sample Description Focus of Data Reports Contributing Analytical Variables Screen Applicants randomized during the the caseload buildup phase. a The major purpose of the screening assessment was to determine whether an applicants was eligible to participate. It was intended to identify those at risk of institutionalization, focusing on age, place of residence, interest in participating, institutionalization status, functional impairment in performing activities of daily living (ADL) and instrumental activities of daily living (IADL), fragility of support system, and unmet needs. b Baseline Applicants randomized during the caseload buildup phase who completed both a screen and a baseline instrument. The major purpose of the baseline instrument was to collect data on sample members at the point of enrollment, measuring functioning, health status, recent service use, informal caregiving, financial resources, demographic factors, and unmet needs. b Client Tracking/Status Change All channeling clients. c The client tracking and status change forms were designed to allow client progress to be monitored through the channeling service system, as well as caseload size. The client tracking form included dates of referral to channeling, screening, randomization, care plan completion, and service initiation; the status change forms collected dates of change from active to inactive or terminated status and reasons for change of status.
Thornton, Will, and Davies, 1986.
Carcagno, et al., 1986.
Sample Member Followup: 6-Month File, 12-Month File, and 18-Month File Applicants randomized into the research sample during the caseload buildup phase who also completed a screening interview, a baseline interview, and a followup interview. The purpose of the followup interviews was to collect outcome data at 6, 12, and 18 months after enrollment. Outcomes included insurance coverage, health status, housing conditions, expenditures, related transfers and services, in-home service use and support, formal community service use, hospital and nursing home use, social and psychological well-being, income and assets, and functioning. - Status File Applicants randomized during the caseload buildup phase. a The status file stores information about interview dates and completion (both complete and non-complete) status for each sample member, sample flags d, and information obtained from the death records search and Medicare and Medicaid entitlement checks.
Wooldridge and Schore, 1986.
Caregiver Baseline Primary informal caregivers (to a subset of those sample members included in the screen public-use file e) who completed a caregiver baseline interview. The caregiver baseline measured the amount of various types of informal services provided to the elderly sample members, the provision of financial contributions by informal caregivers, the economic and family behavior of informal caregivers, and caregiver psychological and social well-being.
Christianson and Stephens, 1984.
Christianson, 1986.
Caregiver Followups: 6-Month File and 12-Month File Primary informal caregivers (to a subset of those sample members included in the screen public-use file e) who completed a 6- or 12-month caregiver interview. The primary purpose was to collect data to assess the impacts of channeling on informal caregivers of elderly sample members. Questions focus on care by primary informal caregiver, as well as from other caregivers, the provision of financial contributions by informal caregivers, caregiving since institutionalization, formal services utilization prior to the death of the elderly sample member, caregiver well-being, and demographic and employment information.
Christianson, 1986.
Formal Community Services (including Case Management and Housing and Transfers) Analysis File Individuals who were members of at least one of the analysis samples on which these analyses were based. The formal community services analysis file was developed from the sample member followup interviews, provider record extracts, surveys of privately contracted individuals, financial records from the sites, and Medicare and Medicaid claims. It includes information on the use of all major community services and expenditures for these services, by funding source.
Corson et al., 1986.
Thornton and Dunstan, 1986.
Brown and Phillips, 1986.
Informal Care Analysis File Individuals who were members of at least one of the analysis samples on which this analysis was based. The informal care analysis file was developed from the sample member followup interviews. It includes information on the types and amounts of services provided by informal caregivers and the relationship of caregivers to sample members.
Christianson, 1986.
Hospital, Nursing Home, and Other Medical Services Analysis File Individiuals who were members of at least one of the analysis samples on which this analysis was based. Specifically, this file consists of persons who completed a baseline interview and who were known to be either Medicare entitled or not Medicare entitled. This file was developed from data obtained from Medicare and Medicaid claims, provider records extracts, and sample member followup interviews. Contained in this file is information on hospital, nursing home, and other medical service use and expenditures, by funding source.
Wooldridge and Schore, 1986.
Quality of Life Analysis File Individuals who were members of at least one of the analysis samples on which this analysis was based. The quality of life analysis file was developed from the sample member followup interviews. It includes information on elderly sample member satisfaction with care, social-psychological well-being, and functioning.
Applebaum and Harrigan, 1986.
The caseload buildup phase began in March, May, or June 1982 and ended in May or June 1983, depending on the channeling project. There were applicants randomized during this phase who were not included in this sample; namely, those applicants who were members of the household of a treatment group client, fourteen cases whose screening survey instrument was lost in the mail, and one individual who was eliminated from all samples because, although assigned to the control group, the individual received channeling services.
Screen and baseline standard control variables (contained in this file, as well as in most of the other files) were used in most of the reports listed below.
Note that this sample includes clients who were not included in the samples used for the impact anlaysis--those individuals who enrolled before randomization began, those who were members of the household of a treatment client, and those who enrolled after the research sample size had been achieved and random assignment ceased.
Sample flags are binary variables indicating membership in a survey or analysis sample.
The caregiver subsample includes the caregivers named by the elderly sample members who were enrolled during an approximately six-month period beginning in November, 1982.
Confidentiality Precautions. For confidentiality reasons, some identifying variables were excluded from the public use files. Thus, for example, names and addresses and Medicare and Medicaid ID numbers were not included. Since the user must have a method for linking information on individuals across files, unique ID numbers are used to identify individual data. The ID numbers on the public use files are different from those used by MPR for fielding and analysis.
Additional confidentiality measures were taken. In order to avoid the possibility that one or more data items could identify, or nearly identify, an individual in a particular site, we reviewed the data and modified some fields. Variables indicating age were transferred from actual ages into age categories. In sites with very small minority populations, ethnicity was recorded by combining categories. In addition, calendar dates are not provided on the files. Instead, each data variable has been converted into a variable that indicates the number of days, screen randomization and the date of the event. Finally, we deleted information on legal guardianship.
Public Use File Formats. We converted the SAS data sets into sequential (EBCDIC) public use files from which each variable can be accessed by its column position, thus making the file readable in virtually every mainframe computer system.
Documentation Available. The public use file documentation consists of eleven reports, each of which documents one or more public use files. Each of the eleven reports contains three chapters:
I. Introduction (common to all reports)
II. Description of File
The development of the file
The variables included
The analysis samples included
III. File Documentation
File layout: the variables included in the file, by position and field length
Instrument: an annotated version of the survey instrument showing variable names assigned to each question (provided for source files only)
Constructed variable documentation: for each constructed variable a form is provided that describes how the variable was constructed and the values for different categories
Descriptive statistics: frequency distributions and means for all variables included on the file.
Physical tape specifications: information necessary to read the tape and a dump of the contents of the first two records on the tape
Copies of these 11 reports will be available for review at the breakout sessions of the conference.
Physical Tape Specifications: Table 7 summarizes the physical specifications of the tapes. Note that all files are available on tape, in EBCDIC. Files are density 6250, fixed block, and no label.
TABLE 7. Physical Specifications of Channeling Public Use files File Logical Record Length Block Size Number of Records Number of Variables Screen 471 4710 6326 182 Sample Member Baseline 1754 1754 5626 803 Informal Caregiver Baseline 1916 1916 1929 653 Sample Member Followup
6-month
1857 1857 4189 782
12-month
1857 1857 3634 782
18-month
1857 1857 1409 782 Client Tracking 312 15,600 7168 103 Hospital, Nursing Home, Other Medical Services 1611 1611 5554 482 Formal Community Services 2884 2884 5607 656 Caregiver Followup
6-month
2590 25900 1667 755
12-month
2591 25910 1537 754 Informal Care Analysis 1359 13590 5408 387 Quality of Life 926 18520 4388 410 Status 411 14385 6326 142 All files are EBCDIC, fixed block, no label, 6250 BPI.
Access. All tapes are available from NTIS. An NTIS price list will be available at the breakout session.
VII. APPLICATIONS
Although collected and structured for the specific purpose of evaluating the channeling demonstration, the resulting data can be used for a wide variety of other research. In this section, we briefly review completed and planned research, discuss potential applications, and caution users about some pitfalls.
A. Completed and Planned Analyses
Analyses conducted as part of the channeling evaluation and a followup study of targeting those at high risk of nursing home placement are now completed. A series of detailed technical reports on channeling document the results, data collection procedures, sample definitions, and methodology. Paragraph summaries of the reports and information on ordering them can be found in a summary the of Channeling Demonstration and an abstract list of reports available from the Office of Social Services Policy, Office of the Assistant Secretary for Planning and Evaluation, U.S. Department of Health and Human Services (DHHS), Room 410E, H.H. Humphrey Building, 200 Independence Avenue, S.W., Washington, D.C. 20201. The followup study of targeting is reported by Grannemann et al. (1986). It is currently not available for distribution.
We are aware of the following analyses that are currently being undertaken with the public use files:
Robert Clark of the Office of the Assistant Secretary for Planning and Evaluation of DHHS: (1) estimation of the total cost of care, both public and private, with particular emphasis on out-of-pocket costs, and (2) analysis of service use by the oldest old.
Corbin Liu of the Urban Institute: analysis of the costs of care of older persons with cognitive impairments, both those in nursing homes and those in the community.
Peter Kemper of the National Center for Health Services Research of DHHS: analysis of the determinants of the use of formal and informal community care.
Jim Callahan and Phyllis Mutschler of Brandeis University: analysis of changes over one year in the use of all types of care by the control group.
Other research will undoubtedly be initiated as more researchers obtain the public use files.
B. Potential Applications
The extensive data collected for the channeling evaluation create many research possibilities. Its special purpose--to form the basis of an evaluation--makes it better suited for some analyses than for others. Because it is a selected sample--data came from ten sites selected through competition, and the sample comprises applicants referred to a special community care program-descriptive analysis using the channeling data are less likely to be informative than analysis of the same questions using nationally representative data. The channeling data appear more appropriate for analyses that do not depend on representativeness but capitalize on the richness of the data or their original purpose.
The channeling data appear most useful for analyses of behavioral relationships, methodological research, or re-analysis of experimental results. The extensive data on the well-being of the elderly sample, for example, is fertile ground for psychometric analysis of quality of life measures or analysis of the determinants of well-being, but would not be appropriate for an analysis of the extent of unmet need in the United States. To estimate the cost of community care and nursing home care for use in calculating premiums for LTC insurance, channeling data would have to be used in conjunction with other data (e.g., a nationally representative sample); otherwise, the estimates would pertain to the selected channeling sample rather than to likely purchasers of LTC insurance.
C. Some Cautions
Although the richness and comprehensiveness of the channeling data set open numerous research possibilities, researchers should be aware of their complexity. Researchers accustomed to using cross-section surveys designed to collect data on a population, rather than longitudinal data designed to evaluate a program, are likely to be surprised by the complexity of the channeling data. One researcher who was not involved in the evaluation but has begun using the channeling data remarked that this is "the most complicated data set [he had] ever seen." The complexity arises from the large number of data sources, the structure of the files, and the special evaluation sampling objectives.
The data sources, as described above, are numerous: five interviews with the elderly sample members or their proxies (screen, baseline, and 6-, 12-, and 18-month followups), three interviews with primary informal caregivers (baseline and 6- and 12-month followups), Medicare claims, Medicaid claims, financial model channeling claims, provider billing records, client tracking data, and death records. The data set thus contains a massive amount of data. Variables can be constructed from more than one source, individually or in combination, so that researchers need to understand exactly how variables on the public use file are constructed before using them in analysis. Not all data are present in every case called for in the design--numerous data sources also provide numerous opportunities for missing data.
Evaluation needs determined the way in which files were structured and variables were constructed. Files were organized, for example, by analytic area so that data needed for a particular analysis were all on one file. Because all analyses controlled for baseline characteristics, a standard set of baseline variables were included among constructed followup variables. Constructed variables also were defined to meet evaluation needs. For example, because some baseline data were not comparably measured for treatment and control groups, screen data were sometimes used when a baseline measure might be better for other purposes.
Evaluation objectives also drove the hundreds of big and little decisions in the design of the data collection. Most important were the sampling decisions which optimized the usefulness of the data for evaluation purposes. Not all data were collected for all sample members. Indeed, the only data that are available for the entire sample are the screen and death records. Two examples will illustrate how sample design decisions could affect analysis possibilities. First, in order to limit the duration of the demonstration, only the first half of the sample to enroll were followed for 18 months. Longitudinal analysis must be limited, therefore, to 12 months of followup data or to the relatively small sample with 18 months of followup data. Second, in order to minimize data collection costs, provider billing records on community care costs were collected only for 20 percent of the sample for the first six months and 10 percent for the second six months. Consequently, data on the community service expenditures of private individuals and government programs other than Medicaid and Medicare are quite limited. Although these and other sample design decisions made sense in the evaluation, they may hinder the use of the data for other purposes.
Before undertaking a project using the channeling data, it is suggested that researchers begin by assessing the implications of the complexity of the data base for their project by reading the following reports:
The final report (Kemper et al., 1986), to gain an overview of the evaluation design and available data
The report on data collection procedures (Phillips et al., 1986), to learn how the data were collected
The particular technical report on the relevant substantive area, to understand how analysis files were constructed, how samples were defined, what variables were constructed, and what analysis was done as part of the evaluation. (For example, researchers planning analysis of informal care should read the technical report on that subject by Christianson, 1986. In addition, those seeking to replicate the evaluation analysis should read the report on research methodology by Brown, 1986).
Only after having assessed the complexity of the data and its implications for the contemplated research does it make sense to invest in the purchase of the public use tapes and associated documentation.
REFERENCES
Applebaum, Robert and Margaret Harrigan. "Channeling Effects on the Quality of Clients' Lives." Princeton, New Jersey: Mathematica Policy Research, 1986.
Brown, Randall S. "Methodological Issues in the Evaluation of the National Long Term Care Demonstration." Princeton, New Jersey: Mathematica Policy Research, 1986. [http://aspe.hhs.gov/daltcp/reports/1986/methodes.htm]
Brown, Randall S. and Barbara Phillips. "The Effects of Case Management and Community Services on the Impaired Elderly." Princeton, New Jersey: Mathematica Policy Research, 1986. [http://aspe.hhs.gov/daltcp/reports/1986/casmanes.htm]
Carcagno, George, Robert Applebaum, Jon Christianson, Barbara Phillips, Craig Thornton, and Joanna Will. "The Evaluation of the National Long Term Care Demonstration: The Planning and Operational Experience of the Channeling Projects." Volume 1 and Volume 2. Princeton, New Jersey: Mathematica Policy Research, 1986. [http://aspe.hhs.gov/daltcp/reports/proceses.htm]
Christianson, Jon B. "Channeling Effects on Informal Care." Princeton, New Jersey: Mathematica Policy Research, 1986.
Christianson, Jon B. and Susan A. Stephens. "Informal Care to the Impaired Elderly: Report of the National Long Term Care Demonstration Survey of Informal Caregivers." Princeton, New Jersey: Mathematica Policy Research, 1984. [http://aspe.hhs.gov/daltcp/reports/impaires.htm]
Corson, Walter, Thomas Grannemann, Nancy Holden, and Craig Thornton. "Channeling Effects on Formal Community Based Services and Housing." Princeton, New Jersey: Mathematica Policy Research, 1986. [http://aspe.hhs.gov/daltcp/reports/1986/commty.htm]
Kemper, Peter, et al. "The Evaluation of the National Long Term Care Demonstration: Final Report." Princeton, New Jersey: Mathematica Policy Research, 1986.
Phillips, Barbara, Susan Stephens, and Joanna Cerf. "The Evaluation of the National Long Term Care Demonstration: Survey Data Collection Design and Procedures." Princeton, New Jersey: Mathematica Policy Research, 1986. [http://aspe.hhs.gov/daltcp/reports/sydataes.htm]
Thornton, Craig and Shari Miller Dunstan. "The Evaluation of the National Long Term Care Demonstration: Analysis of the Benefits and Costs of Channeling." Princeton, New Jersey: Mathematica Policy Research, 1986.
Thornton, Craig, Joanna Will, and Mark Davies. "The Evaluation of the National Long Term Care Demonstration: Analysis of Channeling Project Costs." Princeton, New Jersey: Mathematica Policy Research, 1986.
U.S. Department of Health and Human Services. Notice, "Privacy Act 1974; Report of a New System of Records." Federal Register 46, No. 234, December 7, 1981, 59640-59643.
Wooldridge, Judith and Jennifer Schore. "Channeling Effects on Hospital, Nursing Home, and Other Medical Services." Princeton, New Jersey: Mathematica Policy Research, 1986.
NOTES
For full details on fielding procedures, see Phillips et al. (1986). Wooldridge and Schore (1986) document the collection of administrative records.
III. NATIONAL HEALTH INTERVIEW SURVEY: 1984 SUPPLEMENT ON AGING
NATIONAL HEALTH INTERVIEW SURVEY
NCHS Division of Health Interview Statitistics
I. BACKGROUND
The National Health Interview Survey (NHIS) is the principal source of information on the health of the civilian noninstitutionalized population of the United States. The NHIS is one of the major data collection programs of the National Center for Health Statistics (NCHS). The National Health Survey Act of 1956 provided for a continuing survey and special studies to secure accurate and current statistical information on the amount, distribution, and effects of illness and disability in the U.S. and the services rendered for or because of such conditions. The survey referred to in the Act, now called the National Health Interview Survey, was initiated in July 1957. Since 1960, the survey has been conducted by NCHS, which was formed when the National Health Survey and the National Vital Statistics Division were combined.
II. PURPOSE AND SCOPE
The objective of the survey is to address major current health issues through the collection and analysis of data on the civilian noninstitutionalized population of the U.S. National data on the incidence of acute illness and injuries, the prevalence of chronic conditions and impairments, the extent of disability, the utilization
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Buy art from Jan Montyn? View the current auction offer. Kunstveiling is the largest online art platform in the Netherlands. ✓Competitive Prices
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https://www.artpeers.de/kunstler/jan-montyn/64VBfl1bwWwa06M0ASkeAE
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Would you like to buy a work of art by Jan Montyn? View the current auction offer and bid on beautiful and unique works of art by Jan Montyn. Buying affordable and exclusive art from Jan Montyn and other recognized artists is fun, accessible and within reach via Kunstveiling. Discover all artworks by Jan Montyn for sale at Kunstveiling and get your own Jan Montyn!
Follow Jan Montyn's offer of art for sale
Would you like to be kept informed of new offers from Jan Montyn for sale? You can set Jan Montyn as your favorite artist via your personal Art Auction account. You will be notified by e-mail when new Jan Montyn works of art are placed in the auction. In addition, you can easily view all works of art by your favorite artists via your personal account. That way you will never miss out on a new item in the auction and you can easily buy art from Jan Montyn!
For example, also view the range of works of art by Karel Appel , Anton Heyboer and Klaas Gubbels in the auction.
Why buy art by Jan Montyn through Kunstveiling?
Through Kunstveiling you can buy unique works of art by Jan Montyn and other recognized artists at auction prices. Buying art from Jan Montyn through Kunstveiling is accessible, transparent and accessible. Many new works of art are placed in the auction every day, from modern paintings to old prints and from sculptures to design and jewelry . You can easily adjust the offer to your own wishes and you will be automatically put in contact with the seller if you are the highest bidder after the auction. At Kunstveiling you only pay 15% auction costs on the hammer price. This is already indicated when you place a bid, so that you will never be faced with surprises afterwards.
In addition, you can also sell art by Jan Montyn or other recognized artists yourself via Art Auction. You can read more about selling art on the Selling Art page.
How do I make an offer on a work of art by Jan Montyn?
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https://viewpointdocs.com/filmview/love-me-or-leave-me/
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Love me or Leave me
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https://viewpointdocs.com/filmview/love-me-or-leave-me/
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Love Me or Leave Me (2004) is a film about the Dutch etcher and painter Jan Montyn (1924-2015), whose life has been an almost surreal journey between war and peace, life and death, despair and happiness.
Born into a devoutly Protestant family, Jan Montyn fled his claustrophobic village in Holland and voluntary joined the German Navy in 1944 to fight on the Eastern Front. After World War II, he enlisted with the Foreign Legion and fought in the Korean War. Later, he was involved in humanitarian aid missions in Vietnam and Cambodia.
As an artist, Jan Montyn is well known all over the world. Hundreds of his prints hang in museums and the homes of private collectors in France, Germany, the United States, Japan and the Netherlands. His oeuvre reflects his lifelong observations and experiences, and captures not only his love for beauty of life and landscape, but also his fascination with the havoc and horror wrought by war.
A film about the influence of the past on the present.
Love Me or Leave Meis a co-production between Viewpoint Productions, NPS, the Dutch Cultural Media Fund and the Dutch Film Fund.
Written and directed by Jan Louter.
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https://www.myheritage.com/names/jan_van%2520duijnen%2520montijn
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http://www.artnet.com/artists/jan-montyn/
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https://m.facebook.com/notes/if-you-grew-up-in-ringgold/d41d8cd9/175631082507074/
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Facebook
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://profilebooks.com/contributor/jan-montyn/
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Profile Books
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2024-08-11T22:02:32+00:00
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist who specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German […]
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https://profilebooks.com/contributor/jan-montyn/
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http://www.scottmurray.com/dutch.htm
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Interviews with the Dutch Ambassador May 98 & Sep 99
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interviews
Laetitia van den Assum
Dutch Ambassador to Thailand
I am going out on a limb here, but we are taking a stand. The Dutch Embassy is the nicest in Bangkok. There we've said it. Nestled in between the American embassy on one side and the American ambassador's residence on the other, the embassy is certainly not in any need of protection. The palatial grounds and the lush manicured lawns are littered with peacocks and waterfowl. It's easy to forget you are in Bangkok because it is the peaceful sound of birds chirping that you hear as you stroll across the verdant grounds, not the cacophony of the traffic on nearby Wireless Road.
The embassy, which the Dutch have occupied since 1890, used to be crown property but the Durch Governmant bought it back in 1947. The gracious Laetitia van den Assum who is the Dutch Ambassador to Thailand, Laos, Cambodia, and Myanmar recently talked to our Managing Editor Scott Murray about her life, her thoughts on Thailand, Thai-Dutch relations, Thailand's economic problems and a number of other subjects. Following are excerpts from that interview.
Dutch Ambassador to Thailand, Laetitia van den Assum
Q: How did you get started in diplomatic life?
A: I've always been very interested in international relations. Very early on, I knew I wanted to do something that would expose me to the world, and in the last 60's, when I was seventeen, I had a chance to go to the US as an exchange student and that sparked my interest in looking beyond the Dutch borders. After taking my undergraduate degree in law at Amsterdam University, I went back to America and took a masters of law at Columbia University. While there, I spent a lot of time working for the United Nations, and on UN issues.
After that it seemed natural for me to go back to Holland and join the Dutch Ministry of Foreign Affairs in 1977. I've worked for the Ministry ever since, except for a four year break when I worked for UNICEF in Dar-es-Salaam, Tanzania between 1988 and 1992. I spent most of my time in the Foreign Ministry working in The Hague responsible for UN affairs. This is my first posting as ambassador, and I'm in my third year as head of the Dutch mission here in Thailand.
Q: Would you tell us a little about your day-to-day duties as ambassador?
A: I certainly live very well here. But a lot of people don't understand that what the outside world sees is only part of an ambassador's work; things like attending extravagant dinners, exhibitions, and ribbon cutting ceremonies. A lot of what I do involves day-to-day management issues, and running an embassy is very similar to running a business. I have to take care of problem solving issues, personnel management etc. The embassy must also act as a liaison with all the government agencies in the Netherlands that want us to do things for them in this area.
Q: Please tell us about the Dutch business presence here and how Dutch companies are responding to the economic crisis in Thailand?
A: Over 100 Dutch companies are operating here and there about 2,000 Dutch citizens living in Thailand (1,000 in Bangkok). In general, the Dutch business community is positive about the long tern prospects for Thailand. There isn't going to be a quick fix, however, it's going to take several years, but most of the Dutch companies operating here are here for the long haul.
Many Dutch companies have also announced major new investments. ABN-AMRO is now one of the largest foreign banks operating in Thailand and it recently announced it was taking over the Bank of Asia. Siam Makro has moved its regional headquarters here, and Tops is opening, or has opened supermarkets all across the country. Gammaster has also recently announced plans to start operating here.
Q: What type of things do you think the Thais have to do to get their economy back on track?
A: Well, I think the Bankruptcy Law was a good start although many of us think it didn't go far enough. The review of the Alien Business Law is another important step in opening up Thailand to more foreign investment.
It's very difficult now because of the credit squeeze. Production facilities must be upgraded as Thai products need more value added worth, but it's hard to find the money. Banks aren't lending, so many companies trying to take advantage of the push on exports can't finance their expansion plans.
There also has to be much more money allocated to education and training. Thailand needs to improve its skilled labor force, and more children need accessibility to secondary and vocational schools, as well as universities.
Q: Would you please describe Dutch-Thai trade relations and how they began?
A: Since we are such a small country we have always looked beyond our shores and since the sixteenth century the Netherlands has been a major seafaring nation. It was back then, in 1604, that The Dutch East Indies Company (VOC) first arrived here, and trade between the two countries has flourished ever since. At present, Thailand exports twice as much as it imports to the Netherlands. The main export products are machinery, transport equipment, agriculture based goods, and raw materials. While Thailand imports from us mainly machinery, transport equipment, and chemical and agriculture based products.
Q: Please tell us about some interesting Dutch people living and working in Thailand?
Mrs Lea Dingjan - Laarakker the traditional silk weaver (featured in Siam Trade, Vol. 60) is certainly interesting as she has set-up and helped preserve traditional weaving techniques in a village in Surin province called Bang Reng Khai. She has such enthusiasm and vigor and puts so much of herself into her work.
Jan Boeles is a Dutchman who is over eighty now, but has been here for more than sixty years. He knows a lot about the history of Dutch-Thai trade relations, and he has done a lot of work in the cultural field. He is an honorary member of the Siam Society, and recently he has donated many of his books and historical documents to that Society.
There is also a Dutch nun, who is well into her eighties, named Sister Jeanne van der Alst who set up several homes for the elderly and poor in Klong Toey. She is really a remarkable woman as she still goes to work and administers to the poor every day.
And a Danish priest named Adri Schama, who is not here anymore, set up an orphanage called Baan Adri. It is a home for poor or troubled Thai youth and it is run by the Dutch community here in Thailand.
I must also point out that the Dutch business community across the board has done a tremendous job of contributing to charitable works here in Thailand.
Q: You are one of the few female ambassadors in Thailand, do you think that soon there will be more of a even balance between male and female diplomats?
A: Well, there are four of us here: the Swedish Ambassador Inga Fogh Eriksson, the Belgian ambassador Cristina Funes-Noppen, and the Sri Lankan ambassador Sarala Fernando, and that is about the same percentage you will find in any big city in the world.
To be an ambassador you have to start out at the junior level of civil service and the whole process can take up to twenty to thirty years. And a couple decades ago many more men applied for the civil service than women did. But that's changing now, as more women are currently entering the civil service, so yes I think you will see the imbalance being addressed soon.
Q: Since Indonesia was a former Dutch colony your government must be watching events unfolding there with a keen interest. How do you see the situation in Jakarta so far?
My government was shocked and devastated by the killing, looting and violence that took place just before Sohaerto stepped down, but I think we are all encouraged by recent events. Of course it's too early to tell, but it seems that reforms are being implemented and that there is hope for the future in Indonesia. It is really a question of time though because you cannot change a society overnight.
Q: You recently returned from a trip to Cambodia, can you tell us your thoughts on that country?
A: Well, the country is just exhausted from civil war, strife and violence. The Cambodian people want peace but not peace at any price. The upcoming elections will not be a panacea for all of Cambodia's problems, but credible, free and fair elections are the first step towards establishing a democratic and free society.
There has also been progress made because both Sam Rainsy and Prince Ranariddh are back campaigning and that was thought to be impossible just nine months ago.
Q: You are also the Dutch ambassador to Myanmar, can you tell us a little about that country?
A: It's a beautiful country, I like it very much, and I have a great respect for the people. But there are certain impediments to strengthening Dutch relations with Myanmar as the political situation is very dificult. I hope that the people will have more participation in their political life in the future. Their economy is not doing well, and the country is the poorest in the region, so we have a very small business presence there, and there are only about ten to fifteen Dutch people living n Myanmar.
Q: What about your individual thoughts on Thailand?
A: I've been here for two-and-a-half years now and yet everyday this country holds a new fascination for me. This country really sparks my curiosity, and it can be very difficult to understand because there is always this component of mystery to Thailand.
Second Interview
September 1999
* Why does the Netherlands place so much emphasis on foreign investment and trade?
"We don't invest all our resources in our own country because we are small and much of our potential has already been realized. So we are like Singapore in this region in that we tend to go outside with whatever funds are available.
"If you look at Germany, for example, which was re-united a few years ago, you'll notice that a lot of German investment goes into building up what was former East Germany, that's where they are spending their money. But we are a more settled country and although we are constantly improving on our performance as an agriculture based and service economy, we cannot expand geographically and therefore funds are available to be invested elsewhere.
"Its very different from the US and Germany where they have huge territories and can still explore further domestic investment. Remember, many Dutch companies are already established in Europe and for a long time the Netherlands was the number one investor in the US, so we are well established throughout the world.
"It is ironic really because everyone thinks that because we are a small country (we rank 134th in terms of land mass) that we are not important economically but we rank sixth in terms of global investment and eighth in terms of trade flows."
* Please tell us about the Dutch presence in Thailand?
"Last year, we were the fifth largest investor in Thailand (after Japan, South Korea, the US and Hong Kong) and the largest of the fifteen member EU countries.
"And there are 120 Dutch companies established in Thailand and with one or two exceptions all of the major Dutch firms are operating here. Companies such as Philips, the electronics giant, Unilever, Royal Dutch Shell (which is 60% Dutch and 40% English), Makro Siam and Ahold (Tops Supermarket) and ABN AMRO to name a few.
"And how do these companies affect people in their everyday life? Well, people eat Wall's ice cream, Foremost milk, Yomost yogurt, and they shop at Tops and Makro, they put Shell in their cars, they use Philips electronics, they bank at ABN AMRO and the Bank of Asia, they use Omo washing powder, Lux soap, and many other products of Dutch origin, you can really just go on and on. Unilever is a good example as it is now seen as being a 100% Thai company but it has Dutch roots. With the upswing of the Thai economy, we think that its now time for us to focus on the potential for Dutch SMEs to set up shop here and venture into partnerships with their Thai counterparts.
"In May, we had a trade delegation travel here and it was led by our Minister of Foreign Trade, Mr Gerrit Ybema. He was accompanied by a group of Dutch companies, but especially a large number of SMEs, even some very small ones, who are now trying to venture outside of the Netherlands and who are especially interested in striking up partnerships with small Thai companies who would for example help them export Thai food and popularize it in the Netherlands. We think there is enormous potential in this and other areas.
"We took this trade mission to meet various government officials and businesspeople in Bangkok and then we took them to the Chiang Mai area where there are a number of SMEs in the agriculture and food processing industries which the Dutch have a lot of expertise in. We arranged meetings for them with the Chamber of Commerce in Chiang Mai, established contacts with various Thai companies as well as some Dutch companies that are already operating in the region, so they could get a better feel of what its like to do business here. Then afterwards, if they want more information, we can help them learn more about Thai legislation, rules and procedures."
* How have Dutch companies reacted to the economic crisis?
"Even though Thailand and the other countries in this region have suffered a great shock due to the economic crisis, we cannot ignore the future potential of this region. With 400 million people, South-East Asia is such a big market. That is why I was not surprised that just after the crisis more Dutch investment actually came in and Dutch investors (like Tops and Makro) which had plans to initiate new investment didn't back down but continued on with their projects. They have thirty to forty year prospectives and they look at the long term trends in the region, and although the crisis was serious, it was seen as a temporary disruption. So if the tough conditions of financial reform continue to be met, there is tremendous potential for co-operation between Thailand and the Netherlands."
* Tell us about the Dutch community in Thailand?
"We have about 4,000 people living in Thailand which is quite sizable and again an indication that the Netherlands is a small country, and a lot of people leave because they find it too crowded. But it's also an indicator that we have strong economic ties with Thailand, because many of our nationals in Thailand work for Dutch companies. And we also have many people working with UN agencies: whether it's with UNICEF, ESCAP or FAO.
"Basically we have a geographical concentration in Bangkok; then the Rayong-Pattaya area where the Shell refineries are located; then Chiang Mai and the north where there are an increasing number of agri-businesses; and the fourth concentration is in Phuket, but that's more retirement and leisure oriented.
* How can the Dutch help the Thais in the area of agri-business?
"What Thailand and the Netherlands have in common is that agriculture is the backbone for both our economies. We are, despite our small size, a huge exporter of agricultural produce, and not just cheese and milk powder, but many horticultural products (flowers, tulip bulbs) as well.
"We are very happy to see the government and the Thai people are starting to realize that perhaps in the euphoria of the first boom agriculture was overlooked. Basically Thailand is still a very rural based society, that's where the bulk of the people live and make their living, so it's very important to try and modernize agriculture methods and to try and build up agri-based industries so there is more added value, and that's something that we in the Netherlands have a lot of expertise in.
"Its not only how you produce your rice, potatoes and tomatoes. It's how you market them and bring them to the consumers and how you can add value by processing them. When you look at Thailand, that whole area of how you get from the small producer to the small consumer is not very developed yet.
"I know one potato chip manufacturer who has to deal with 10,000 different farmers in the north who all grow potatoes in different ways yet he has to make sure that the potato chip found on the supermarket shelf is consistent in quality, appearance and taste. That's extremely difficult. It's very important that these farmers co-operate and work together.
"The government must also make sure that there are sufficient access roads, and that there are transport systems so that the produce can get to market on-time. You have a good international airport here in Bangkok and plans for another, but if you are in Chiang Mai or Chiang Rai and you have to truck down your wares to Bangkok, twenty to thirty percent will be wasted before you even get here. And when you add up all those individual pick-ups, that's a huge amount of wasted produce.
"Our Ministry of Agriculture is working with the Thai Ministry of Agriculture to see how this whole chain from the small producer to the consumer can be made to be more efficient, so that ultimately what you can have higher incomes in rural areas."
* What about the embassy complex itself?
"Foreigners aren't allowed to buy land in Thailand but embassies can. So we bought this in 1946 and it was crown property back then. The first tenant was the personal physician of King Rama V, Dr Alphonse Poix, and he moved out in 1917. Then Prince Bovoradej lived here, but he had to flee to Cambodia because of the political events of 1932. After that it was leased and it belonged to the British Club and when we bought it (we were on Suriwong Rd. before) we took it over from the Salesian Fathers."
* Any Prominent Dutch people living in Thailand you would like to mention?
"Sister Jeanne who is 90 and lives in the Mater Dei complex.
She's the oldest person in the Dutch community, and she's been here since 1938. She has done a lot of great work with slum communities and the hospitals for the mentally retarded.
"Also, the artist Jan Montyn (profiled in Siam Trade, Vol.8 #87). He is not only an artist but he also visits secondary schools throughout the Netherlands to talk about his experiences in WWII and the Korean War and he discusses the dangers of fascism and totalitarian regimes and the importance of democratization. He lives here for about nine months of the year. He's quite well-known and his work sells well here, in the Netherlands, in France and in Japan."
* You have extended your appointment for a year, is that correct?
"Yes, a normal tour of duty is four years, but I asked to stay for one more year. I came in late '95, so I was here for the good times, now I have gone through the crisis, and it will be good to experience some of the upswing as well. I continue to learn everyday and my curiosity is not yet satiated."
* Thoughts on Thailand?
"It stimulates your curiosity and constantly triggers your senses. As you walk around and see people mingling about, you ask what are they talking about, what are they doing, what are they cooking? It's never boring, there are so many things happening, it's a very dynamic society."
For further info contact the ambassador c/o:
106 Wireless Rd
P.O. Box 404
Bangkok, Thailand
10501
Tel: (662) 254-7701(5)
Fax: (662) 254-5579
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https://ftnbooks-blog.tumblr.com/
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books.com
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[] |
[
"art",
"stedelijk",
"crouwel",
"design",
"sandberg"
] | null |
[] | null |
Books and Art on FTN
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https://64.media.tumblr.com/avatar_4acd01c362fa_128.pnj
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Tumblr
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https://www.tumblr.com/ftnbooks-blog
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A few years ago i was looking for information on this Koresan artist and now…..by chance …. I stumbled upon the information wanted. This is what i can share now:
A graduate of Duksung Women’s University with a major in Oriental Painting, she has displayed her works in solo exhibitions at prestigious venues like Gallery Skape(2015), Gallery Fish(2004), Kumho Museum of Art(1998), as well as a…
View On WordPress
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3116
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dbpedia
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1
| 75 |
https://www.cedarmemorial.com/Obituary/2011/Nov/JoEtta-Collins/Condolences.aspx%3FPF%3DTrue
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en
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Cedar Memorial
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As a past president of Church Women United it was a pleasure to know JoEtta. My sympathy to the family. We will be sending a Memorial gift of $25 to National Church Women United in her name.
Valois Wolter
November 13, 2011
My heart felt sympathy goes out to you the family at the passing of your loved one,My Mother Collins. Know she is truly Home and free.She became my friend in sunday school and church at Bethel AME Church in Cedar Rapids while I resided there in 2010.My care for her grew as I listen to her in sunday school class.May God's Peace, Grace and Mercy surround and keep you all. Marian Armstrong
Marian D, ArmstrongINSERT INTO guestbook VALUES (Edwards)
November 13, 2011
Mrs. Joetta Collins continues to be the classest most gracious woman I ever meet. She was my first introduction to the bible and my continued walk in the christian faith. She is the perfect example of love, kindness and patience. My fondest memory is at 5yrs old she told our sunday school class the Christmas Story on a felt board. Afterwards she explained why one must never write X-Mas instead of Christmas because you cut out 'Christ' whom is the reason we have Christmas at all. She will be truly missed but always cherished in my heart. May God wash the Collins family with warm and wonderful memories of this wonderful lady.
Suzette Howard-Gadegbeku
November 13, 2011
When we moved here in 1962 we were greeted by a warm, welcoming, helpful community. JoEtta was one of the most kind, positive ladies that we met.
Thank you JoEtta.
Clara Hardiman INSERT INTO guestbook VALUES (Pixie)
November 14, 2011
Mrs. Joetta Collins was a "Christian Lady" in every sense of the word. She was a woman of class and grace. I am blessed for having known her. She was an encourager and a supporter to my husband , Rev. John Blackmon,myself and my daughter, Kimberly in our ministries. She is absent from the body, but surely present with the Lord whom she loved and served with her whole heart. Her presence will be sorely missed in the community and especially at Bethel AME Church, where I met her and last saw her in November of 2010.
Joan W. Blackmon
November 14, 2011
My thoughs and Prayers go out to you...JoEtta and I went to the same church..She was loved by many and will be missed by all..May the Lord put his arms around you in this time of grief,and know that this wonderful lady is By His side.
Brother Larry Dobbins
November 14, 2011
Montyne,
I am so sorry for the loss of your grandmother. It has been a tough year for you, but be strong and have faith. You are forever in my thoughts and my prayers!! Luv ya girl!
Tersa Cassady
November 15, 2011
To the Collins Family,
Mrs. Collins was for many a living example of how to be a Woman of God. Mrs. Collins was the love of many at home and at church. She was a mentor to those whom she came in contact with. We are better because she spent time with us.
As we lift your family up in prayer and remembrance of Mrs. Collins, please accept our prayers also for each and every one of you.
The Raydell Brooks Family
Liz Brooks
November 16, 2011
I WENT TO GRADE SCHOOL AND HIGH SCHOOL WITH JOETTA. JOETTA WAS ALWAYS A FINE PERSON AND I AM SURE SHE WILL BE MISSED BY ALL WHO KNEW HER.
BEN CORZINE
January 19, 2012
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3
| 95 |
https://www.widewalls.ch/artists/jan-montyn/auction-results
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en
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Jan Montyn - 6 Auction Results
|
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Discover auction records by Jan Montyn, with prices and details for each lot! Estimate the value of your collection.
|
en
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/favicon.ico
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https://www.widewalls.ch/artists/jan-montyn/auction-results
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This blurred image is only for you to be able to identify the artwork.
Artist: Jan Montyn
Artwork: Abstract composition
Size: 42 x 52; 50 x 69 centimeter
Medium: Color etchings
Creation year: 1980
This blurred image is only for you to be able to identify the artwork.
Artist: Jan Montyn
Artwork: Untitled
Size: each: 25 x 32 centimeter
Medium: Color etchings
Creation year: 1986
This blurred image is only for you to be able to identify the artwork.
Artist: Jan Montyn
Artwork: Untitled
Size: approximately 25 x 32 centimeter
Medium: Color etchings
Creation year: 1986
This blurred image is only for you to be able to identify the artwork.
Artist: Jan Montyn
Artwork: Untitled
Size: each: 25 x 32 centimeter
Medium: Color etchings
Creation year: 1986
This blurred image is only for you to be able to identify the artwork.
Artist: Jan Montyn
Artwork: Untitled
Size: each: 25 x 32 centimeter
Medium: Serigraph
Creation year: 1986
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https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
|
en
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Career, biography and origin of Jan Montyn
|
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[
"Paul Cardoso"
] |
2024-01-27T12:36:57+00:00
|
When was celebrity Jan Montyn born ? Celebrity Jan Montyn's date of birth is October 20, 1924. Learn more about Jan Montyn What is the origin of the
|
en
|
Buzz
|
https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
|
Jan Montyn, famous Dutch artist, was born on June 28, 1924 in Oudewater. After surviving World War II, Montyn enlisted in the Dutch Indian Colonial Army where he encountered the brutality of Indonesia’s War of Independence. These experiences had a profound impact on the artist, who began to express his feelings and memories in his paintings. His unique style combining realism and expressionism quickly attracted the attention of art critics and the public.
Montyn then became internationally known through his exhibitions and his series of books, notably “Black Blood”, where he recounts his experiences of the war. His works have been applauded for their ability to capture the essence of human suffering while expressing hopes for peace and reconciliation. Today, Jan Montyn is recognized as one of the greatest contemporary Dutch artists, and his artistic legacy continues to inspire and fascinate future generations.
Jan Montyn is a Dutch-born celebrity who distinguished himself in the art world as a painter and writer. Born in 1924 in The Hague, Montyn demonstrated exceptional artistic talent from an early age. After studying at the Academy of Fine Arts in Rotterdam, he gained notoriety thanks to his unique style, mixing realism and abstraction. But the story of Jan Montyn is not limited to his artistic talent. During the Second World War, he was conscripted into the Waffen-SS, an experience which had a profound impact on his life and work. His war years were marked by violence and tragedy, and influenced his dark and complex artistic vision.
Over the decades, Montyn has exhibited his works in numerous museums and galleries around the world, and has received numerous awards and recognitions for his work. Alongside his artistic career, he also became known as a writer, publishing several books in which he recounts his war memories and his passion for art. Jan Montyn is today considered one of the most important artists of his generation, and his work continues to inspire many art lovers around the world. His tumultuous life, his unique experiences and his incomparable artistic talent make him an essential figure in the contemporary art scene.
Jan Montyn is a renowned Dutch artist, famous for his landscape paintings and works inspired by World War II. Born October 20, 1924 in The Hague, Netherlands, he was the son of Hendrik Montyn and Maria van den Berg. The Montyn family were from the working class and lived modestly. During the war, Jan Montyn joined the Dutch navy to escape the difficulties of daily life under German occupation. After the war, he pursued his passion for art and studied at the Royal Academy of Fine Arts in Amsterdam.
Montyn became particularly influenced by the horrors of war and began creating works that reflected human suffering and the scars of violence. His style was often described as abstract expressionism, with rapid, powerful brushstrokes that helped convey a sense of urgency and raw emotion. Over the years, Montyn gained recognition and exhibited his works across Europe and even the United States. He died on November 29, 2015 in Amsterdam, leaving behind an impressive artistic legacy that has earned him a place in contemporary art history.
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https://apuntogallery.com/en/gallery/type-of-object/graphics/jan-montyn-etching-solitude-nr-8-of-10/
|
en
|
"Solitude" Nr. 8 of 10
|
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2019-11-25T20:38:16+00:00
|
The etching "Solitude" (nr. VIII / X) was made by famous Dutch artist Jan Montyn during his "Transition" period in 1971.
|
en
|
Apunto Gallery
|
https://apuntogallery.com/en/gallery/type-of-object/graphics/jan-montyn-etching-solitude-nr-8-of-10/
|
Description
The etching “Solitude” (nr. VIII / X) was made by famous Dutch artist Jan Montyn during his “Transition” period in 1971. This etching is also included in the collection of the Bibliotheque National de France, Paris.
Additional information
Dimensions 50.5 × 60.5 cm Peculiars
dated, framed, hand signed, publicatie, foxing in margin, numbered
Year
1971
Measurements of the work it self (hxwxd) in cm.
50×60,5
Staat
|
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3116
|
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| 17 |
https://ftn-blog.com/2024/04/02/jan-montyn-continued/
|
en
|
Jan Montyn (continued)
|
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[
""
] | null |
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2024-04-02T00:00:00
|
The reason to write again on Jan Montyn is because recently i added to my inventory the ultimate book on Montyn his prints. This book is now available at www.ftn-books.com My first-ever encounter with the works of Jan Montyn was in the early seventies. It was then that I acquired my very own beautiful etching…
|
en
|
FTN-blog
|
https://ftn-blog.com/2024/04/02/jan-montyn-continued/
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The reason to write again on Jan Montyn is because recently i added to my inventory the ultimate book on Montyn his prints. This book is now available at www.ftn-books.com
My first-ever encounter with the works of Jan Montyn was in the early seventies. It was then that I acquired my very own beautiful etching by the renowned artist – a mesmerizing depiction of a blue bird, set against a typical Montyn background. The artwork was relatively large in size, and I proudly displayed it on my wall for over ten years before replacing it with a photograph by Lucien Clergue.
Despite being in a drawer for the past three decades, my fondness for this etching has not diminished. This holds true for all other Montyn etchings I have come across. They possess a dreamlike quality that effortlessly blends realism with abstract elements, all executed with impeccable technique.
It wasn’t until years after acquiring the etching that I stumbled upon Jan Montyn’s autobiography, which shed light on his early years. The artist had an eventful life, spending time in the Foreign Legion, surviving a shipwreck as a sailor in the Kriegsmarine, and even fighting in the Eastern Front near Koerlandand. He was a colorful character who may not have always made the best political choices, but his art continues to stand out and deserves to be admired without bias.
For an excellent read on the artist’s life and work, I recommend the title published on the occasion of his 75th birthday in 1999, available at http://www.ftn-books.com. Embrace the enigmatic complexity and linguistic dynamism of Montyn’s art, and revel in the unique vocabulary he employs to bring his visions to life. Trust me, it’s worth it.
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https://books.google.com/books/about/A_Lamb_to_Slaughter.html%3Fid%3DFS9nAAAAMAAJ
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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https://www.artprice.com/artist/20295/jan-montyn
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2015) Value, Worth, Auction Prices, Estimate, Buy, Sell – Artprice
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How much does a Jan MONTYN (1924-2015) cost and the price of their artworks at public auctions in the Print-Multiple, Painting, Drawing-Watercolor categories to buy and sell at the best price at auction or on the Artprice Marketplace. Also see MONTYN’s analyses, graphs and market indicators.
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/apple-touch-icon.png
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Artprice.com
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https://www.artprice.com/artist/20295/jan-montyn
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For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.
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https://www.kunstveiling.be/en/items/jan-montyn-nongkhai-the-vertical-light/488868
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Jan Montyn - NongKhai, the vertical light sold! View the auction result.
|
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Jan Montyn - NongKhai, the vertical light sold! View the auction results or view the current auction offer. ✓Buy & Sell
|
en
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/favicon.ico
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https://www.kunstveiling.be/items/jan-montyn-nongkhai-la-lumiere-verticale/488868
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Every Monday a Special
Every Monday evening a Special auction ends focusing on a particular artist or theme. Would you like to participate as a seller? That is possible! You will find more information here.
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dbpedia
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https://www.goodreads.com/author/list/100319.Jan_Montyn
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en
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Books by Jan Montyn (Author of Lamb to Slaughter)
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[
"Dirk Ayelt Kooiman",
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Jan Montyn has 1 book on Goodreads with 14 ratings. Jan Montyn’s most popular book is Montyn (Dutch Edition).
|
https://www.goodreads.com/author/list/100319.Jan_Montyn
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Welcome back. Just a moment while we sign you in to your Goodreads account.
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https://en.geneastar.org/genealogy/montijnj/jan-montyn
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en
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Family tree of Jan MONTYN
|
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Montyn was born in a conservative Calvinistic family. In the Second World War he joined the German navy and fought on the eastern front. He currently lives in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York and the Museum Boijmans Van Beuningen in Rotterdam.
|
en
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https://geneacdn.net/bundles/geneanetgeneastar/images/favicon.ico
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Geneanet
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https://en.geneastar.org/genealogy/montijnj/jan-montyn
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Painter
Born Jan MONTIJN
Dutch artist
Born on November 13, 1924 in Oudewater, Nederland (99 years)
This form allows you to report an error or to submit additional information about this family tree: Jan MONTYN (1924)
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0
| 65 |
https://klinkhamerphoto.com/en/blog-en/photoreportage-en/the-art-of-portrait-photography/
|
en
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The Art of Portrait Photography
|
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"Michael Klinkhamer"
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2021-01-12T19:02:17+00:00
|
Peter Klashorst is after 60 years of making art a certified "art barbarian" and one of the last art Mohicans. He was at a very young age confident enough to sell his first paintings and never stopped.
|
en
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Klinkhamer
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https://klinkhamerphoto.com/en/blog-en/photoreportage-en/the-art-of-portrait-photography/
|
June Newton partner of photographer Helmut Newton dies at 97. RIP 10-04-2021
Under the pseudonym Alice Springs, June Newton earned her spurs in the seventies and eighties as a portrait photographer of the greats of the earth. Artists, politicians, royalty, she got everyone in front of her lens. “And the funny thing is, I’ve never been to Alice Springs,” she says. “In 1970 I started to publish my photos and asked Helmut under what name I wanted to work. We took an atlas and opened it on my native Australia. I closed my eyes and poked somewhere on the map with a needle. He stuck in the middle of the continent, on the town of Alice Springs. “That is your name,” said Helmut. “
For this portrait of John Irving, we met at an Amsterdam five-star hotel located on the canals. I brought with me a portable light studio and a white backdrop. John proved to be a very cooperative and talented model. From the images, I shot all pictures were very good and this image was used for the HP/de Tijd magazine. Sometime after the first publication, six portraits of John were used for six paperback dutch cover picture versions of his popular books.
IK JAN CREMER
Jan Cremer is a legendary artist from Holland. He wrote a bestseller book in 1964 that was self titled, I JAN CREMER. During his long career he published a string of books and his art painting is widely collected around the world. For this image we recreated his famous 1964 book cover with a brand new Harley Davidson this time. This image is an out take from that session for a car magazine, in color. I like this version because of the depth perspective, the moodiness and his relaxed manner of posing.
Marion Bloem
Peter Post
Of Course I knew about Peter Post and was invited to his villa on the outskirts of Amsterdam for Esquire magazine. I also knew he was like me the son of an Amsterdam butcher. In the old days I was told, cyclists had to put a tender piece of meat inside their cycle shorts to protect their behinds. So, I brought him a good juicy and bloody steak and did some pictures with that. Blood running from his hands. For those people who know a thing or two about the hard life of a professional cyclist understand the connection was clear. But even without the bloody steak, you can see the scars and stitches in Peter Post’s worn but still good-looking face.
Jan Montyn
I met Jan Montyn for the first time prior to a magazine photoshoot 20 years ago. I was not so much aware of his incredible life story then. This time we had a much more personal connection but Jan was facing health issues and did not live much longer. I personally like the introspective character of this portrait of a man who witnessed hardship and wars and came out of that incredible life of war and conflict to be a great etching and writing artist.
Thom Hoffman
During the late 1980s early 1996 I was full time working for many glossy magazines. This portrait of Thom Hoffman was made for RAILS, an inflight magazine for the Dutch railways.
I used the romantic travel aspects into this image. Thom Hoffman dressed in a nice trench coat, reminding us of Humphrey Bogart. His reflection in the window worked perfectly with his casted film roles. Playing a handsome but somewhat conflicted character in his latest movie, The Fourth Man, a psycho thriller.
Bernardo Bertolucci
At the time of my meeting with Bernardo, he was working on the Sheltering Sky movie. One of all time favorite movies and book by Paul Bowles. This somewhat introspective portrait was shot in a very small production office in London, using a film spotlight and my trusty Hasselblad camera.
Roman Polanski
I was able to have a private portrait sitting with Polanski in the Pulitzer hotel Amsterdam. The bronze statue of the young female in the background refers to his personal life regarding relationships with women.
Peter Klashorst
Peter Klashorst is after 60 years of making art a 100% certified “art barbarian” and one of the last art Mohicans. He was at a very young age confident enough to sell his first paintings and never stopped. We met before in the late 90s for a magazine picture in Amsterdam and we had immediately a good interaction and fun. We met again in Cambodia late 2010 for to cover his art latest show about the killed Khmer Rouge victims that he photographed at the Tuol Sleng torture museum in Phnom Penh and then he recreated their images on life-size intense painted canvases. I wrote the six-page feature article and images for this article published in HP/de Tijd magazine. After that, we did many more articles and newspaper stories. https://michaelklinkhamer.blogspot.com/2011/05/peter-klashorst-in-phnom-phen-cambodja.html
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https://www.bookstellyouwhy.com/pages/books/52953/jan-montyn-adrienne-dixon/a-lamb-to-slaughter-1st-us-edition-1st-printing
|
en
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Books Tell You Why, Inc
|
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Binding: Hardcover Book Condition: Very Good+ in Very Good+ dust jacket Edition: 1st US Edition; First Printing Publisher: New York: Viking, 1985. ISBN: 0670803766
|
en
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Books Tell You Why, Inc.
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https://www.bookstellyouwhy.com/pages/books/52953/jan-montyn-adrienne-dixon/a-lamb-to-slaughter-1st-us-edition-1st-printing
|
A Lamb to Slaughter - 1st US Edition/1st Printing
Jan Montyn, Adrienne Dixon
A first American edition/first printing in Very Good+ condition with rubbing to the edges in an alike dust-jacket, lightly shelfworn; is a chilling yet ultimately uplifting story of redemption and hope.
When a young lamb is abandoned on the side of a road, the farmer who finds her believes she is worthless and destined for slaughter. But she is rescued by a kind-hearted shepherd, and soon the lamb is learning the skills necessary to survive in the harsh landscape. As she grows stronger, the lamb begins to see the beauty in life, and she begins to understand the value of her own existence. In the end, she rises to become a powerful symbol of hope, inspiring others to find their own inner strength and courage. A Lamb to Slaughter is a heart-wrenching and inspiring story of redemption and hope, demonstrating that nothing is impossible for those who are willing to try.; 8vo ; 251 pages; TBC.
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dbpedia
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2
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https://profilebooks.com/contributor/jan-montyn/
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en
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Profile Books
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist who specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German […]
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Profile Books
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https://profilebooks.com/contributor/jan-montyn/
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https://www.artprice.com/artist/20295/jan-montyn
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2015) Value, Worth, Auction Prices, Estimate, Buy, Sell – Artprice
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How much does a Jan MONTYN (1924-2015) cost and the price of their artworks at public auctions in the Print-Multiple, Painting, Drawing-Watercolor categories to buy and sell at the best price at auction or on the Artprice Marketplace. Also see MONTYN’s analyses, graphs and market indicators.
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/apple-touch-icon.png
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Artprice.com
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https://www.artprice.com/artist/20295/jan-montyn
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For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.
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https://viewpointdocs.com/filmview/love-me-or-leave-me/
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Love me or Leave me
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https://viewpointdocs.com/filmview/love-me-or-leave-me/
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Love Me or Leave Me (2004) is a film about the Dutch etcher and painter Jan Montyn (1924-2015), whose life has been an almost surreal journey between war and peace, life and death, despair and happiness.
Born into a devoutly Protestant family, Jan Montyn fled his claustrophobic village in Holland and voluntary joined the German Navy in 1944 to fight on the Eastern Front. After World War II, he enlisted with the Foreign Legion and fought in the Korean War. Later, he was involved in humanitarian aid missions in Vietnam and Cambodia.
As an artist, Jan Montyn is well known all over the world. Hundreds of his prints hang in museums and the homes of private collectors in France, Germany, the United States, Japan and the Netherlands. His oeuvre reflects his lifelong observations and experiences, and captures not only his love for beauty of life and landscape, but also his fascination with the havoc and horror wrought by war.
A film about the influence of the past on the present.
Love Me or Leave Meis a co-production between Viewpoint Productions, NPS, the Dutch Cultural Media Fund and the Dutch Film Fund.
Written and directed by Jan Louter.
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
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Jan Montijn
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Learn more about Jan Montijn (Dutch, 1924 - 2015). Read the artist bio and gain a deeper understanding with MutualArt's artist profile.
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
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https://www.instagram.com/williammontyn/
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http://ww2f.com/threads/a-dutchman-saw-life-in-hitlers-navy.59432/
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A Dutchman Saw Life In Hitler's Navy
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http://ww2f.com/data/avatars/m/33/33299.jpg?1489620067
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http://ww2f.com/data/avatars/m/33/33299.jpg?1489620067
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This first-hand account of conditions in the German Navy was written by a young Dutchman who served some time on the "Scharnhorst" and "was given hell"...
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http://ww2f.com/WW2F.boxed.350.png
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WWII Forums
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http://ww2f.com/threads/a-dutchman-saw-life-in-hitlers-navy.59432/
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This first-hand account of conditions in the German Navy was written by a young Dutchman who served some time on the "Scharnhorst" and "was given hell" on the "Deutschland" When this Story was first published it was stated that the paper had the sailors name but in view of his concluding remarks it was decided not to name him.
No matter how much i have researched this no name every comes up..:fag:
I got into Hitler's Navy by accident, and I got out of it by sheer good luck. What happened between those events is a story that will remain seared in my memory till my dying day. The sea is in my blood, for I'm a Netherlander, born in Rotterdam; and that is how I first met tough old Captain Scharf, of the German Merchant Service. He gave me my first job at sea, and two years later, when he became Commander of the SS Europa I was given my first fulltime job on the famous Nazi liner. I wanted action; the life aboard the "Europa" was dull. Capt. Scharf's Oberliet-zur-See suggested that i should apply to be transferred to Naval duties at Kiel. They were short of men (this was in 1937, at the height of the Nazi naval rebuilding boom), and my Dutch nationality was not thought likely to be a bar. It was not. Within ten days I was enrolled as one of the "Gefolgschaft" (worker-followers) at the Deutsche Werke, largest of the State naval shipbuilding yards at Kiel. They paid me 62 pfennig's an hour, and six marks a week had to go in compulsory contributions to the Nazi Party, Winter Relief, Sick Fund, and so on. Each Saturday I drew the equivalent of £1 8s for a week of 50 hours! They put me on assembling gun-turrets and electrical gun controls for 14-inch guns, heavy work that brought some fifty of us to a take-it-easy strike stage. There was a row. An appeal was made to Admiral Heusinger von Waldegg, the Krupp's expert who tries to combine the extreme jobs of being "workers trustee" on the shipyard Union list, and of being Chairman of the Deutsche Werke board! Admiral von Waldegg solved our troubles in a way typical of this crafty old sea-dog. He agreed with us that conditions were tough at Deutsche Werke, as there was such a big rearmament drive, but suggested that we should go along to the Germania shipyards, also in Kiel, as there were better jobs going. We went only to discover that Admiral von Waldegg is also boss of the Germania Yards and that as "temporarily unclassified" workers we should be de-graded to a rate of only 50 pf. an hour! Some of my mates took jobs at this sweatshop rate, but as I knew the most popular young "Leutnant-zur-See" aboard the "Scharnhorst," I spent a night in the docks and then set off on a hike for Stettin (a walk about as far as from Manchester to London), and waited for my "Leutnant-zur-See" pal to come ashore. My last few marks were spent in a cheering kimmel with him at the Hotel Bismarck, and so my first Navy job was sealed! While the" Scharnhorst" was at the Stettin naval base I was to study at the Kiel "Marine schule" and by the time the "Scharnhorst " set off on manoeuvres I would be a fully fledged member of the "Reichskriegsmarine" (Navy, to you !). I sat down and studied with 80 other lads some tough U-boat chaps up for a refresher course, a few young "Vollmatrose" (" A.B.s ") from the "Graf Spee" ... my particular pal being a certain Hans Munschmeyer, whose father fought in the Great War alongside von Spee himself, and was killed in the battle of the Falkland Isles. We little dreamed then that the "Graf Spee" would meet a similar fate. In less than two months I did a "crammer" course on Nazi Navy material. Pay was nil; pocket-money and beer allowance equal to about 1s. 8d a week. We got up at 6.00am each morning, learned every Jerk in the "Exerzierreglement" (drill book), worked all day on naval technical stuff, seamanship and gunnery, and then sang ourselves to sleep at nights with Nazi marching-songs and their rather bawdy Naval versions! During my first trip in the "Scharnhorst" we were on manoeuvres for nearly two months off southern Norway and the North Sea. They soon nicknamed me a "Meckerergrouser" (literally one who bleats like a goat), but I wasn't by any means the only grumbler aboard the "Scharnhorst" We worked 10-hour shifts except when there was gunnery practice, when it was nothing to be on duty for nearly 14 hours at a stretch. We slept eight in a tiny cabin aft, and at over 15 knots it was almost impossible to sleep owing to the thump in the screw-shafting. Food was plentiful, but spoiled by bad cooking; we did, however, get more fresh meat than I have ever seen before or since in naval or civilian centres of Germany, and as the refrigerators of the "Scharnhorst" are fairly small we didn't carry a lot of old stock.
There were Gestapo men aboard the "Scharnhorst" Some were junior officers; some were just ordinary "Vollmatrose" like myself. If there was any critical talk of the Nazi Party in the wardroom, or if any of the A.B.s like myself happened to criticize the news we got over the radio, somebody was sure to sneak on us as not being a good "Volksgenosse" that is, a "Comrade of the Nation" Sudden disappearances of men, or transference of officers, were often due to Gestapo spying. I learned to keep my mouth shut. I helped to scrub and polish the decks and fittings, and when duty took me up on the control top, the tripod foremast or under the barbettes, I took no interest in the officers business. The only pals I had were aboard the "Emden" at present the only medium class cruiser of the Nazi Navy class cruiser of the Nazi Navy left afloat. The others, the "Nurnberg" "Leipzig" "Koln" "Konigsberg" and "Karlsruhe," all now at the bottom, all carried chaps who had studied and worked at Kiel with me. We were all young. Average age aboard, the "Scharnhorst" was 22. After a brief period on the aircraft-carrier "Graf Zeppelin" where I learned to fly a twin-engined Messerschmitt, I was suddenly, for purposes of discipline, transferred to the "Deutschland" (since renamed "Lutzow"). There was an impression that the Naval authorities wanted to tighten up on discipline. As I see it now, plans were already then being made for composite action of Navy and Luftwaffe in readiness for the Norwegian campaign. We were given hell on the "Deutschland"
Each Oberliet-zur-See had been given special instructions to see that we were worked to breakdown pitch. Our quarters were worse than on the "Scharnhorst" and for a whole week I had to sleep on deck by the "Katapultflugzeug" (catapult-plane), despite the bitter cold. Then came the River Plate battle. In the Reichskriegsmarine we heard the news first, and it caused a tremendous tightening up of discipline. The "higher-ups" must also have known about the coming Norway action, for training was intensified. Those freezing nights on deck combined with the fact that I was getting too much starchy food and little red meat; gave me a bad cold, and then pneumonia. I came back in a Swedish tramp-steamer, and at Kiel was given a 10-day travel pass with "Auf Krankenurlaub" (on sick-leave) printed across it in red. That pass gave me free travel to the Dutch border, and within five hours I was back safe in Rotterdam. I've over-stayed my "Krankenurlaub" by months, but as I'm not going to be fool enough to go back into Hitler's Navy, i'll let Admiral Raeder worry about my desertion!
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https://www.artsy.net/artwork/jan-montyn-impression-of-morocco
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Impression of Morocco (1964)
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From Millon Belgium, Jan Montyn, Impression of Morocco (1964), Oil on pencil on canvas, 60 × 70 cm
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https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico
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https://www.artsy.net/artwork/jan-montyn-impression-of-morocco
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https://en.geneastar.org/genealogy/montijnj/jan-montyn
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Family tree of Jan MONTYN
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Montyn was born in a conservative Calvinistic family. In the Second World War he joined the German navy and fought on the eastern front. He currently lives in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York and the Museum Boijmans Van Beuningen in Rotterdam.
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https://geneacdn.net/bundles/geneanetgeneastar/images/favicon.ico
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Geneanet
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https://en.geneastar.org/genealogy/montijnj/jan-montyn
|
Painter
Born Jan MONTIJN
Dutch artist
Born on November 13, 1924 in Oudewater, Nederland (99 years)
This form allows you to report an error or to submit additional information about this family tree: Jan MONTYN (1924)
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https://www.whoppah.com/products/jan-montyn-landschap-ets-8U5ECGEWADI1
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Jan Montyn - landschap ets
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist, specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German navy and fought on the eastern front. After the war he lived in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York City and the Museum Boijmans Van Beuningen in Rotterdam. Montyn died on 10 August 2015 in Amsterdam, aged 90. De ets is in een uitstekende conditie en is volledig gesigneerd zie foto. Het is 4/25. De lijst heeft kleine witte puntjes maar dat is makkelijk aan te stippen. Geen grote schade en zeer mooi en professioneel ingelijst.
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