Calendar: January 4

Year: Day to Day Men: January 4th

Red and White Squares

Born on January 4th of 1809, Louis Braille was a French educator and inventor. He was the youngest of four siblings bor  to Simon-René and Monique Braille who maintained a successful enterprise for leather goods and horse tack. At the age of three, Louis Braille was playing with his father’s  tools in the workshop; an awl that he was using slipped and penetrated one of his eyes. No treatment was able to save the damaged organ and eventually lost sight in the other eye by the age of five, most likely due to sympathetic ophthalmia.  

Braille was raised by his parents in a normal fashion and prospered in their care. He navigated the village and paths with canes fashioned by his father. Braille’s intelligence and creative mind impress the local teachers and priests who assisted him with higher education. In February 1819 at the age of ten, he  entered Paris’s Royal Institute for Blind Youth which provided a stable environment for blind children to associate and learn. There the students were taught to read by a system devised by the school’s founder Valentin Haüy. The books in the small library used embossed heavy paper with raised imprints of Latin letters which could be traced with fingers.

These books however were in uncomfortable sizes and weights, fragile and expensive to obtain. While the blind children could read the letters by touch, there was no process by which the children could write by themselves. Louis Braille read Haüy’s books repeatedly and was attentive to the oral instructions offered by the school. After he exhausted the school’s curriculum, he was asked to remain as a teacher’s aide and, by 1833, was elevated to a full professorship. For the rest of his life, Braille stayed at the Institute and taught history, geometry and algebra. 

In 1821, Braille discovered a system devised by Charles Barbier, a code of up to twelve dots in two columns, impressed into thick paper. These impressions could be read entirely by the fingers. Inspired, Braille developed a system of his own, a system of  reading and writing that could bridge the gap in communication between the sighted and the blind. His system was largely completed in 1824, when he was fifteen years old. Braille’s first version, published in 1829,  used both dots and dashes in uniform columns of six dots for each letter. In 1837, he discarded the dashes as too difficult to read; the resulting small cells were capable of being recognized as letters with a single touch of a finger. Braille’s system was later extended to include braille musical notation.

Louis Braille published several written books on braille and educational books for the blind. In 1939, he created the decapoint, a systematic method of dot-punching with a specialized grill which overlaid the paper. With the use of an associated number table, which he devised, the grill permitted a blind writer to faithfully reproduce the standard alphabet. With the assistance of his friend Pierre-François-Victor Foucault, Braille helped develop the Raphigraphe, a device that could emboss letters in the manner of a typewriter. 

Although respected by his pupils, Braille’s writing system was not taught at the Institute during his lifetime. The successors of Haüy who died in 1822 were hostile to its use. Suffering through sixteen years with a persistent respiratory illness believed now to be tuberculosis, Braille relinquished his teacher position at the age of forty. He was eventually admitted to the infirmary at the Royal Institution when his condition reached mortal danger. He died in January of 1852, two days after he reached forty-three years. Due to the insistence of the blind students, Braille’s system was finally adopted by the Institute in 1854, two years after his death.

Matthew Brookes

Matthew Brookes, “Les Danseurs” with Introduction by Marie-Agnes Gillot, Published by Damiani, 2015

For his first book, photographer Matthew Brookes has turned his lens upon the professional male ballet dancers of Paris. Over the course of a year, he took these dancers out of their regular environment of rehearsals and performances and photographed them in a raw space in which they were allowed to explore the physicality of dance in its purest form.

This series of portraits depicts the dancers’ responses upon being asked to interpret birds falling from the sky. The introduction is by Parisian prima ballerina Marie-Agnès Gillot, who has worked with these dancers over the years and watched them grow and develop. Brookes was born in England, grew up in South Africa, and is presently based between Paris and New York.

Lucien Clegue

Lucien Clegue, “Testament of Orpheus de Jean Cocteau”

Lucien Clergue was born in Aries, France. Clergue was from a family of shopkeepers and could not afford to pursue further studies in a college or university.. In 1949, he learned the basics of photography. Four years later, at a corrida in Arles, Lucien showed his photographs to Spanish painter Pablo Picasso who, though subdued, asked to see more of his work. Within a year and a half, young Clergue worked on his photography with the goal of sending more images to Picasso.

During this period, he worked on a series of photographs of traveling entertainers, acrobats and harlequins, the Saltimbanques. He also worked on a series of photos whose subject was carrion. On November 4, 1955, Lucien Clergue with more photographs again visited Picasso in Cannes,  France. Their friendship lasted nearly 30 years until Picasso’s death.

He was named Knight of the Legion d’honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on May 31, 2006, at the same time as a new section dedicated to photography was created. Clergue was the first photographer to enter the Academy to a position devoted specifically to photography. In 2013 he served as the Chairman of the Academy of Fine Arts.

Frederic Vayssouze-Faure

Frederic Vayssouze-Faure, “Tunnel” and “S Tunnel”

Frédéric Vayssouze-Faure is a French graphic artist who is fascinated by wave phenomenons and the vibrating quitar string harmonics theory, therefore inspired by periodic motions in general, and by the purest and smoothest of them in particular : those which are ruled by the sine function.

Images reblogged with thanks to the artist’s site: http://wavegrower.tumblr.com

Max Ernst

Max Ernst, “Naissance d’une Galaxie (Birth of a Galaxy)”, Oil on Canvas, 1969, Beyeler Foundation, Riehen, Switzerland

Closely associated with Surrealism and Dada, Max Ernst made paintings, sculptures, and prints depicting fantastic, nightmarish images that often made reference to anxieties originating in childhood. Ernst demonstrated a profound interest in Freudian psychoanalysis, which is apparent in his exploration of Automatism and his invention of the Frottage technique.

The artist’s psychoanalytic leanings are evident in his iconic 1923 work “Pietà”, or “Revolution by Night”, in which Ernst substitutes the image of Mary cradling the body of Christ with a depiction of the artist himself held by his father. Much of the artist’s work defied societal norms, Christian morality, and the aesthetic standards of Western academic art.

Max Ernst painted “Birth of a Galaxy” in Paris during his second French period.

Chinese Man, “Escape”

Chinese Man, “Escape”

Chinese Man is a collective French trip hop band created in 2004 and originally from Aix-en-Provence. The are influenced by hip hop, funk, dub, reggae and jazz.

Chinese Man is composed of DJ Marseille Zé Mateo and High Ku and beatmaker SLY. Beatmakers Leo le Bug and Le Yan also revolve around the group and participate in the composition of several pieces. Frequent live additions to the crew include Taiwan MC and MC Youthstar. The group became known through the song “I’ve Got That Tune” which was chosen by Mercedes Benz for its promotional campaign and by the French Film Festival in Hong Kong as its theme.

Chinese Man Records label is based in Marseille, France.

Simon Hantai

Simon Hantai, “Bird”, 1950, Mixed Media on Paper, 119 x 13 cm, Private Collection

Simon Hantaï was a highly regarded, famously reclusive French painter whose work explored ideas of absence and silence — and who took those ideas so seriously that he disappeared completely from view for 15 very productive years.

Born in Hungary, Mr. Hantaï was a major figure in European art from the 1950s onward. He was known in particular for abstract, often huge canvases that crackled with bold, saturated color punctuated by unfilled areas of pure white. Their singular appearance resulted from a method of folding and tying the canvas before applying paint, a process known as pliage, which Mr. Hantaï developed in the early 1960s.

He was also known for the long, self-imposed retreat from the public arena in the 1980s and ’90s. In 1999, the magazine Art in America described this absence as stemming from “a streak of ethical obstinacy virtually unparalleled in contemporary art.” In a 1998 interview with the French newspaper Le Monde, Mr. Hantaï explained the reason for his long isolation:

“I felt that the art world was going wrong,” Mr. Hantaï said. “I was starting to receive commissions. I was being asked to paint the ceiling of the Paris Opera House. Society seemed to be preparing to paint my work for me. I could have obeyed; many, perhaps most, painters do. The prospect did not coincide with my desire.”

E. A. Seguy

Insect Prints by E.A. Seguy

E.A. Seguy was an artist and designer active in Paris during the first three decades of the 20th century. Very little is known about him; even his actual name and the dates of his birth and death are in dispute.

Seguy produced eleven albums of nature themed illustrations and patterns, drawing inspiration from papillons and other insects, flowers, foliage, crystals and animals. Seguy was one of few artists that successfully combined both Art Deco and Art Nouveau styles in his work. His brightly colored geometric patterns were intended to be used as inspiration for such decorative items as textiles and wallpaper.