The century of carrion.
Fata Morgana| N° d'inventaire | 23596 |
| Format | 14 x 22 |
| Détails | 36 p., paperback. |
| Publication | Saint-Clement-de-Rivière, 2015 |
| Etat | Nine |
| ISBN | 9782851949165 |
Léon Bloy is a taste for hyperbole, mystical visions, religious intransigence, insults to colleagues, injunctions and blackmail with poverty ("Everyone who owns a franc owes me fifty centimes"), but through the power of his words and the sincerity of his demands, he managed to give nobility to abjection. Who writes like that these days? No one. The century of carrion was for him the 19th, but it could just as easily be the 20th or the current one: "History is the unfolding of a plot of eternity under temporal and transitory eyes."
Felix de Recondo was born in Spain in 1932 and graduated in architecture in Paris in 1958. This was the beginning of a brilliant career, but his love of painting led him to abandon architecture in 1972. He then drew very large formats and used an old Renaissance technique neglected by contemporary painters: silverpoint. He would later discover, in Pietrasanta, where he would return for ten years, that sculpting marble and working bronze were major expressions of his art.
Here he accompanies the verve of Léon Bloy with numerous drawings to amplify his voice.
Léon Bloy is a taste for hyperbole, mystical visions, religious intransigence, insults to colleagues, injunctions and blackmail with poverty ("Everyone who owns a franc owes me fifty centimes"), but through the power of his words and the sincerity of his demands, he managed to give nobility to abjection. Who writes like that these days? No one. The century of carrion was for him the 19th, but it could just as easily be the 20th or the current one: "History is the unfolding of a plot of eternity under temporal and transitory eyes."
Felix de Recondo was born in Spain in 1932 and graduated in architecture in Paris in 1958. This was the beginning of a brilliant career, but his love of painting led him to abandon architecture in 1972. He then drew very large formats and used an old Renaissance technique neglected by contemporary painters: silverpoint. He would later discover, in Pietrasanta, where he would return for ten years, that sculpting marble and working bronze were major expressions of his art.
Here he accompanies the verve of Léon Bloy with numerous drawings to amplify his voice.