Welcome !! A Call to Participants & "Faits Divers & Fate's Divers"

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Since to an American ear and reader the homophonic punning possibilities of the title "Faits Divers" in French are completely absent, IL Maestro di "PAROLE IN LIBERACE" Professore G-A Vidiamodopo suggests instead the use of an American homophonic translation, in order to keep alive the sense of
"Une Joie de Vivre qui se trouve a travers les Jeux du Mots."
(A Joy of Life found through Plays on Words)

--and now allow me to turn over the podium to our illustrious and well-beloved colleague, Il Maestro, Giulio Agosto di Vidiamodopo--

the Fondatore, who has given us the eternally generative legacy of his never-to-exhausted "Grand Song of the Open Piano" under the sign of his immortal


echoes of which one may find in all manifestations Visual Sonic Visceral which in their very most particulate, singular and also massed, on-flowing wave existences acknowledge the inspiring and influential, ceaselessly experimenting presence of Il Maestro among their notations of Found and Accidental scores . .

Then, with a magnificent flourish, Il Maestro di Parole in Liberace enters stage left and announces the entry into the world of the "Faits Divers--Fates' Divers"--

Special Forces' Lieutenant X announces the Vernissage of his "Celestial Snuff Films" at Galeria Gore,Friday, 19:00-24:00 hr. Combining his Fighter Jet's elegantly enhanced and edited videos with his own high powered zoom photos and infra red images, the young hero creates the "Theater of Certain Death" as seen by both the "Omniscient Eye's View from Above," and the "subjective focus on the Eroticism of the Subject's Snuffing on the ground."

Exactly at 8, the New American Extreme Experimental Fascist Poets' opening salvo of "Militarized Morphemes" created Pure Terror. Renditioning subjects from the audience using Chance Operations, the Poets undertook "Interrogations of Parole" via the branding of each Tongue as a Forbidden Langue. By making speech mute, projected words announced, the subject existed now only as name brands of material language.

Felix Feneon Editing La Revue Blanche --painted by Felix Vallotton

Felix Feneon Editing La Revue Blanche --painted by Felix Vallotton

from Nouvelles en trois lignes/Three Line News Items/ Short Stories

Feneon created the simultaneous "news/"stories" of his Nouvelles
with perhaps "more in mind" than his own punning use of the Faits Divers' Nouvelles en trois lignes--

he may have been thinking also of the example of Gusrave Flaubert
who several decades earlier had created out of a provincial journal’s Faits Divers the novel Madame Bovary:

“Delphine Delamare, 27, wife of a medical officer in Ry, displayed insufficient austerity. Worse, she ran up debts. To avoid paying them, she took poison.”

Nurse Elise Bachmann, whose day off was yesterday, put
on a public display of insanity.

A complaint was sworn by the Persian physician Djai Khan
against a compatriot who had stolen from him a tiara.

A dozen hawkers who had been announcing news of a
nonexistent anarchist bombing at the Madeleine have
been arrested.

A certain madwoman arrested downtown falsely claimed
to be nurse Elise Bachmann. The latter is perfectly sane.

On Place du Pantheon, a heated group of voters attempted
to roast an effigy of M. Auffray, the losing candidate. They
were dispersed.

Arrested in Saint-Germain for petty theft, Joël Guilbert
drank sublimate. He was detoxified, but died yesterday of
delirium tremens.

The photographer Joachim Berthoud could not get over the
death of his wife. He killed himself in Fontanay-sous-Bois.

Reverend Andrieux, of Roannes, near Aurillac, whom a
pitiless husband perforated Wednesday with two rifle
shots, died last night.

In political disagreements, M. Begouen, journalist, and
M. Bepmale, MP, had called one another "thief" and
"liar." They have reconciled.

Sunday, December 21, 2008

Feneon's Faits Divers Brevity at work in 1908 Catalog Entries forThadee Natansons' Vuillards--"Further Developments" of the Faits Divers

These necessarily brief Catalog entries give another view of Feneon's response to working within a form, like the Faits Divers, that is already formed for one, an already-there constraint which offers a challnge to the writer.

Another constraint is the need for a concise, efficient precision in the descriptions
of paintings which are going to be held up for auction.

Feneon was widely considered the best French art critic since Baudelaire; here, as in the Faits Divers, he is finding ways to give both the exact information required, and within such narrow limits, to create via a written style and an aesthetic eye the invitation to the potential buyer to "both read and see," as W C Williams has it in Spring and All. Williams' book is dedicated to the painter Demuth and makes use of a black and white newspaper reproduction of a painting by Juan Gris.

The perceptual actions in the writing make visible in the reader's eye both the words and the painting as black and white "negatives" which are "developed"
into color pictures.

click to see larger image
Fig. 1 Édouard Vuillard, Le corsage rayé, from the Album series, 1895. Oil on canvas. National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon (1983.1.38). Digital image
© 2002 Board of Trustees, National Gallery of Art, Washington, D.C. © 2002 Artists Rights Society (ARS), New York / ADAGP, Paris
click to see larger image
Fig. 2 Édouard Vuillard, L'album (detail), from the Album series, 1895. Oil on canvas. The Metropolitan Museum of Art, New York, The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 2000 (2000.93.2). Photograph © 1994 The Metropolitan Museum of Art. © 2002 Artists Rights Society (ARS), New York / ADAGP, Paris
click to see larger image
Fig. 3 Édouard Vuillard, La tapisserie, from the Album series, 1895. Oil on canvas. The Museum of Modern Art, New York, Estate of John Hay Whitney (294.1983). Digital image ©The Museum of Modern Art/Licensed by Scala/Art Resource, NY.
© 2002 Artists Rights Society (ARS), New York / ADAGP, Paris
click to see larger image
Fig. 4 Édouard Vuillard, La table de toilette, from the Album series, 1895. Oil on canvas. Private collection.
© 2002 Artists Rights Society (ARS), New York / ADAGP, Paris
click to see larger image
Fig. 5 Édouard Vuillard, Le pot de grès, from the Album series, 1895. Oil on canvas. Private collection. Digital Image © Christie's Images, New York. © 2002 Artists Rights Society (ARS), New


Feneon on Paintings by Vuillard from Cataloge


The panels mentioned by Vuillard in his journal are without a doubt the present five paintings, which were sold by Thadée Natanson at auction in 1908, several years after his divorce from Misia. In the catalogue written by Félix Fénéon to accompany the sale, the five paintings were entitled and described in terms of a decorative ensemble. For Fénéon the unity of the series is most readily perceived through Vuillard's continuous development of an exquisite, overall chromatic harmony. Since Vuillard's suggestively imprecise, densely textured paintings are at times hard to read and his sumptuous accords of color difficult to reproduce accurately in color reproduction, it seems worth reprinting Fénéon's catalogue descriptions here:

L'album (fig. 2): In the center, a group of three women on a canapé, looking at an open album. Another woman, to the right, is arranging flowers. Two others are grouped together at left; the seventh is at the edge of the frame. . . . An overall effect of red and green enlivened by yellow. This effect is condensed in the background, in small juxtaposed dabs, but is diffused in varying tones in the rest of the composition, the red descending all the way to chestnuts and blacks in order to ascend as far as vermilions and pinks, the yellow fading all the way to beige. The paint [is] sometimes applied in tiny brush strokes, at others is spread in barely nuanced solid areas (masses), the two procedures contrasting nowhere more than in the center.9

Le pot de grès (fig. 5): On a table where flowers, odds and ends of cloth, notebooks, and boxes are lying about, a stoneware vase holds a bouquet in full bloom. Four women grouped in pairs, one seated and three standing, surround the vase moving from the right-hand foreground to the left-hand background. Almost all the color components seen in L'album and La table de toilette.10

La table de toilette (fig. 4): Between two bouquets of flowers and at different ends of a table, two women. Of one nothing appears but the top of the head, a part of the blouse, an arm, and the skirt with its folds; of the other, only the chignon, the hidden profile, the nape of the neck, the back, and the arms; in the foreground, her hands rest on a draped piece of furniture. The still life includes a vase, a box, a mirror, and some pieces of cloth. What distinguishes the general impression here, analogous to that of L'album, is two dull tones of gray harmonized with tender pinks and beiges, and enlivened by reds, a flashing orange accent, a red heightened with black, and a green and orange accord.11

La tapisserie (fig. 3): With her left hand a young woman embroiders her yarns on the stretched canvas; on her knee her right hand holds a skein of yarn from which strands hang down to the balls of yarn in the basket. Between the weaver and the window, the curtain of which is being drawn back by the two hands of a young girl, a bush of flowering branches intervenes. Opposite the young woman, another child of whom we see only the upper torso. The only particularity, a large black area on which a bright red arabesque stands out.12

Le corsage rayé (fig. 1): Two women are smelling flowers arranged in vases. A child enters in the rear. The general effect, here more condensed, appears all the more precious. The new feature would be, along with a yellow and pink flash in the upper right, a woven patch of red and beige.1


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