Manuel of introduction in painter's job laqueur decorator

Synopsis and context of the work of Manuel Diez Matilla


Revision in Sunday, August 18th, 2013

By Christian Diez Axnick


Left 4

 

 

 

The beauty is Word of God. Even if I don’t know Pablo Camino's work, I know that it
is a universal reference within the hispanicism, and even at the world level.
It summarizes well the abstraction required by our judgment. We come " to
think after him of the thoughts of god ", as soon as we make a commitment
in the sinuous meanders of the aesthetics and the confused mathematics. Because
god is the only one who made things differently. There is also Neruda, and
other poets.

After all, the only successor of Charles-Quint is Jaime de Mora from Aragon, and the
Valois continues to exist, they had even offered us a kir as I had said it
higher with Nina and Xavier.

From Chenonceaux to Villandry with his magnificent spring flowers, to
Azay-le-rideaux, to Chartres with its extraordinary cathedral in the luxurious
stained-glass windows, one of the most beautiful of France and even Europe and
the world, where is a white shawl attributed to the Virgin Mary, we see it, our
country became big when it welcomed the artists of the other countries, the
other corners and places were the most moved the back by the world. The same
country is small and despicable when some politics put no more limit in their
power, in their racist conception, their hatred and their contempt of the
various cults, and even all the cults.

It is for lack of competent and clear-sighted magistrates that these people are not
pursued and act on the center stage with complete impunity. It is an
indisputable fact. A force of opposition is needed, and we know it for a long
time.

The universal expansion of the various cults, even allied if necessary to the
secularism, cannot adapt of such individuals and characters, no more than the
democracy.

It is not frankly necessary question in Europe, no more than in France, to go back,
to question the past, its contribution, the emancipation which it brought us
until now. Neither for Zurbaran, nor for Murillo, nor for Italian, French,
German or English masters. The art is made by additions, by search, by
innovations, by complements, by ideas. France is a deep country, to
the political elites unfortunately totally moved by the most social realities.

The gay man politicus became a despicable and squalid being. It is a fact in which our
split democracy is used, and that is why she tries to draw her strengths from
the traditional and ancestral principles, to fight better these ceaseless
attacks against her formerly constituted bodies.

But the best answer to this crisis will come undoubtedly always from the basis. I think
for example to my priest of baptism, the RP Don Primitivo Belver, a very
faithful supporter of cardinal Ratzinger the years already before he will
elected as pope. I believe that the only chances of the Christianity are in the
strength and the clear-sightedness of its analysis, in the quality and the
courage.

The esotericism, the metaphysics, the sciences of the fate must be separately
handled, as all which concerned the complexity of the life on earth and relationships
between the people.

It there several years already I made the reservations and the core drilling in
plumbing for the basement and the floors of the Senate, and as so many workers
and executives, I believe that only infinite precautions associated with a
certain height of view can allow the church to transmit a secular message not
to say millennium, to transcend without fanaticizing them or impoverishing them
the populations of the world.

Later I made the CVC of the CHU (TEACHING HOSPITAL) of Amiens, which has all the same 5
Nobel prizes to his credit. Lately, as I indicate it in the psychological
series, I make rather of the civil engineering. I am bound to secrecy. My works
generally have to return to the company which employs on me.

I am for a tolerant and strong line, in the respect for human rights.

It is true that over the years, the draftsman, the projeteur whom I am, in plumbing,
in air conditioning, in building, in architecture, has only less and less time
to dedicate to the art, but nevertheless I make generally very thorough studies
for my subjects, including modern subjects, even if for lack of time sometimes
the mountain gives birth to a mouse. I filled out a lot on the other
hand, I master better very different domains, but which after all join. On the
other hand, I paint little, and especially modern works which ask for quite a
lot of conception. I finally went away from the classic art.

The family dramas which I knew and still know, these successive dramas, left me
after all only not much time to dedicate to the art. I think on the other hand
that there will be always big artists, because France remains an open country.
I resigned from the Workers' Party, because I found him in the end too much
folded up on him same, rotating every time the back in Europe. The position of
the party seemed to me too anti-European in the end. I
was rather for less category-specific and more widened negotiations, but I
found that every time such or such class played the interposition between the
basis, the activists, and the direction. Our activists suffered a lot, gave a
lot, and we abandoned them for the benefit of incomprehensibles dogmaes.

I had wished more realism on behalf of the activists,
and a little less ignorance of the cruelest realities. There is a lack of
responsibility, but the courage of our activists is not in question. Their will
to change the society either.

But it is true that I am of no party really. For me a
party is a place of exchange of  ideas,
the contradiction, and lastly a ground of consensus if possible. In
fact, the contradictory debate which we had did not succeed.

A new way is needed. It passes by the unification of the European around common
values. Because in front of powerful rival, terrible, terrifying imperialisms,
Europe has to guard and preserve a capacity of union, and it she will reach
never without the negotiation there, or in the negation of her recent past. Too
often our leaders turn the back to the big projects of tomorrow. It belongs to
us all to find a common ground, to succeed in uniting us.

I form the wish that we understand, and the rather recent publication of the Gospel of
Judas gave to the latter a species of forum, in the measure or Judas very well
seemed to know the Jewish religion, its metaphysics and the philosophy, in fact
the Torah, that Jesus did not think completely of the same thing as him, even
if these texts move closer to both men. Not that you should not rehabilitate
Judas of an intellectual point of view, it would be disguise the conception
which he had of his mission, but I believe that it is indefatigably necessary
to call back that the teachings of Christ remain superior to his.

The will of Judas kept a better press than the Gospel of Judas. Beyond these
questions, and my mother would like to read the will, let us consider that the
Gospel is incomplete, and that certain data are falsified, biased. They do not
return well enough the context, because texts were damaged.

At the bottom, who suffered during the World War II, all the same especially the
German Jews, the German communists, the republicans, the Christian Democrats,
the paralytics, the handicapped persons, the homosexuals, counter them, in a
sense the useless mouths found by the regime. Current World, having joined
forces against Germany, should admit that she can also have a word to say. I
believe that Germany a day will have to get rid of Russian and American
guardianships, and to be also capable of defending itself and of striking. Its
vital interests require him in front of new threats which emerge almost
everywhere in the world. It is necessary to extirpate Germany of Its past. A
capital as Koenigsberg, the capital of the oriental ex Prussia, will never be
really Russian or Soviet.

Finally after Eugène Ionesco, Gérard de Nerval, who spoke about Gonesse, about ponds of
Comelles who did go Blanche de Castille, the mother of Saint-Louis, and also
the famous Lady Blanche, after so much artist who managed to make the criticism
be reborn, the exceptional art of Manuel Diez Matilla, which lived for a long time in
Val-d'Oise, knew how to breathe the second life into the oil painting, into the
pictorial standards, into the domain of the relations between the artists, in
the years so to speak which precede the discovery and the definitive
indentification of the ossuary of Jesus.

For the anecdote, the castle of the white queen, in front of ponds of Comelles (or
ponds of the Lady Blanche), would be the one or Blanche de Castille, the mother
of Saint-Louis, would have been clostred following an adultery.

Realicon of the mound Montmartre in the last years of his life, my father had his
style, he knew how to breathe his vision of things. In my spirit he is inescapable,
and sta ys one of the last known artists who had periods in Spain, in France,
and who joined the tens of big painters which stayed on the mound, in
particular in 12 street Cortot, the wash-shed being situated a little more low.

I form the wish that our tortured profession is reborn one day of its ashes.

The creation of the CA.P. of laqueur decorator would a lot help the state to insure
the formation of the artists of tomorrow; can his wish be fulfillled.

It is true that the current world, made by lobbyings, channel-flicked, passed through
an artist of its tempering. A painter as deserved him better. Sometimes, I have
the impression that the media decided to destabilize us, and eleven
psychological studies which I dedicate him should partially remedy this problem
of elementary democracy.

I think that there is still time to know how to take the pulse of the impressions that
he left behind him, of his mark and his immortal track. He sometimes said me by
laughing "Filosofia Don Diego", be a philosopher. We did not make a
lot of philosophy for the house; everything was dedicated to the painting. His
whole life was dedicated to it. It conditioned me until today.

Today, with the age, I have more backward movement. I realize of what is to paint, me
who remained idle, not understood and criticized for reason sometimes. However,
I was a witness living on the history which accelerated in front of me. It is
not without having tears in the eyes that I attended the evolution of things,
according to my journeys in Germany, which finally were more numerous that in
Spain. " Kukmal die arme Leute ", said to me Marita, when we spent
images of massacres on the television. It is to understand nothing to it, and
nevertheless he is terrible this report, that of the dramatic evolution of
things.

Tobuild is not simple, to destroy is easy. Germany lost and loses some influence,
"Einfluss", as it is said. And she is not only in this case, but her
position is particularly delicate for a long time.

We shall not redo a genius as Manuel Diez, with all that it implies and lets
glimpse as consequences. Even there I am on the hot seat, on the steakhouse. I
try to find the time to paint, but I have no means even since I have the
detached house, which asks for quite a lot of work; deeply that we go also in
Spain and in Algeria my wife and I.
I would need a workshop for my old days. Of what to allow me to get organized a little
better on the manual plan. We cannot paint in the small apartments of cities. The
painting smells strong. And then, my mother is very a criticism, as my wife.
It was a few years it is Norbert who had come repaint the lounge. He was 57
years old all the same already.

I always felt well with Norbert, my uncle. He had been operated as Uwe. Uwe of
the head and he of the vesicle. They had returned me height of schaschlick from
there low. I am a big amateur. I adore the German kitchen, the pastries, the
Monkuchen, the Streuzelkuchen. The German pastry is excellent, remarkable. I
remained greedy of Germany. Cake shops are well worth pastas and bollos of
Spain. My father was more in the Spanish camp, what is normal. I I always kept
an eye on Germany, and even two, even if I am fond of polvorones.

Edith, my aunt, found me not much honor. We can see things in this way, it's true.

But my heart also beats for Germany. Even if I am not mistaken. But I am
conscious of my origins and what they imply in the daily life.

My mother was born to Kreis Neuendorf, who is in current Russia. Her sister Gerda
was born in 6 km from there, in Momehnen, current Poland. Other part of the
ex-East Prussia, the third, is a Baltic state today. The last time when I went
in Germany, we went to Dieter and Gerda.

Yes, Jesus Christ speaks of "decimate" of the truth, because he argues in
general terms. We are many to be called Diez in the world. We are not every
same, we have every no same ideas. But we all knew family dramas, we
were all confronted with the incomprehension.

At the bottom, our lives are diffuse, linear, turbulent. We cannot compare
everything easily.

Sometimes, we are isolated, left to our own devices and shy. But not that much. We
sometimes, to have certain drives, certain reactions. It is question of
influence a lot, it is a fact. But sometimes also, the private life interferes
in a it is true random way, such the truth was gone down by god on our lives.
And then, little by little, she fades again. We pass in other thing.

The life reserves us a little of everything.

France is a putative power, a hydra with a gaping mouth. But we always put in
perspective, without returning everything to one for all that. Both quoted by
the rifle are different one of the other one, it is like that. I make errors, I
accumulate it, I have to assume and pay these errors.

I would want for nothing in the world only my family or my close relations made the
expenses of my errors.

Any years ago the uncle of Hanifia died to alzheimer, the life continues to deprive
us of everything, to kidnap of us our close relations. He was very kind. The
life goes away, it leaves each other, the death cavorts and comes to tickle
those who stay. We are mortal, it is a fact.

 

Daniel Parent, one of our childhood friends, died any years ago of an occupational
accident. He worked on the power plant of Ivry. He had to make a manipulation
with two other employees whom he wanted to make only. An electric set fell him
above. He was electrocuted. Everything fell him on the face. So goes the life.
Our generations disappear gradually, little by little our strengths diminish,
all disappear. These dramas leave us stunned and pale, examiners and pallid.
Daniel was in the CGT (FRENCH TRADE UNION). He was militant all his life. He paid
the stamp and the half-years.

Poor Daniel, he leaves an orphan son and so many friends in the cautiousness. He
was alive and kicking and of ardour. It was an union activist of always.
He had been stolen his 4X4 in front of at our home a year.

 

 

 

Manuel of introduction in painter's job laqueur decorator

 

 

Synopsis and context of the work of Manuel Diez Matilla

 

Revision in Thursday, April 7th, 2011

 

By Christian Diez Axnick

 

Left 3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Especially, we display the very very warm glue in the knife, the warmest possible, by watching not to burn.

 

B) The sanding of furniture, tables and panels

The sanding is more delicate with panels. It is necessary to go there more slowly, with very few water at the beginning. The main part of the sanding makes dry. Once these sanded we again let them dry. It is only then that we are going to stick them. Panels are the highly-rated and the top of furniture, doors.

By means of a tool and of a rule, we can already bound the outlines of the panel, even sometimes but rarely that of the Greek, and cut him in the chisel.

Panels are always often painted and curled up in a ball before the stage of the veneer.

If we want to make manual craquelure, it is also thus before the veneer, not later.

The piece of furniture can already have been sanded before being stuck, especially if it is dry, but anyway, it is after the veneer of the panels that we shall let dry before sanding again until the finishes.

a) The veneer

It makes so very very warm, it is even the stage or the glue has to be the warmest possible. We use a knife.

Before the veneer, we can we have just told it to make craquelure having cut the panel.

For it we place it back to front on a plane surface, a table, with a carpet over. By means of a hold we go to a sense until obtain a manual craquelure.

Once this operation was ended, we are going to stick the panel, which let us let us specify it can already have been painted. It is even better if it was already painted, because it allows to verify in the passage if it was well sanded. Generally it will be of the yellow for a piece of furniture leather and of the white for a piece of furniture or a table ivory.

The glue being ardent (but never of boiling as usual), by means of the brooch, we coat with glue the zone of the piece of furniture or will come the panel and we coat with glue also the paper on the back of the panel. The brooch must be soaked well and stick it not necessarily too thick, but however substantial. Without losing of time, and by going very fast, we stick then the panel by using either a knife or a hold.

We manage the glue towards outside, the quite very warm, and we clean the outsides with a wet sponge to remove the glue which comes too. The panel is stuck in the piece of furniture or in the table and stuck. Everything has to be made accurately and very fast not to leave with the glue the time to cool.

Later we shall hand on a light coat of glue on the angles of the piece of furniture to the case or some glue would have left with the frictions on the holds of ground dressed in carpet during the veneer.

V. The decoration.

A) The cellulosic lacquer.

His advantage is in all the range of colors of cellulosic lacquers and in the wealth and the light, the luminosity of its pigments.

Three complementary colors, namely the yellow, the red and the blue allow to obtain very appropriate colors. Colors must always be very appropriate on the pallet, especially the white. The ranges of greens are very important and very beautiful for example in cellulosic lacquer, quite as for blues.

 Oranges are very beautiful, more still if they are not completely diluted, but let escape from imperfections. Colors earth are less supplied and less rich than in oil painting. On the other hand, the cleanliness of colors, on tones created with additives, patina, allow to make things, landscapes of a depth which we could not almost create with the oil painting.

They are pleasant colors, on the warm or cold ranges. We can as in the oil obtain neutral tones, very beautiful grey, from broken colors, from broken blancs. Only the yellow of Naples and the flesh-coloured tones remain more reserved for the oil painting. In other ornamental domains the cellulosic lacquer outclasses almost the oil painting, in particular by its cleanliness and the transparency of its ranges.

The decorative motives are made either with the lacquer or with the gilts.

 Until now, the cellulosic painting especially treated the Chinese or Japanese art, the Asian art, thus the Chinese furniture, what corresponds well enough to the sumi-e in watercolor. The technique with the hairs of the brush is very similar, mixtures also, as we soak little or many the brush, as it is fine, very fine, average or rather thick.

We can make funds with thick brushes.

The advantage of the cellulosic lacquer, is that we can also create surépaisseurs, high reliefs, by adding him of powder of whitening and by working it with a small knife. His thinner is the cellulosic thinner, its varnish is the cellulose varnish.

The cellulosic lacquer allows to realize excellent exotic, aquatic, Asian landscapes, any sorts of decorative motives. To make them we use of the talc and leaky and covered sheets of copy. We press the pear full of powder of whitening on the copy. The white points serve then as mark for the motives.

As a rough guide, I saw aquatic landscapes made by my father, with one on tones, tens of stages of decoration, lightings, shades, which carry very high what we can make with the cellulosic. Hours are needed to realize certain decorations, and only the cellulosic allows to free itself from certain difficulties or to overcome certain pictorial, floral imperatives.

We can also with thinners and cellulose varnishes work with golden powders of various pigmentation, not only the gold. They are special powders, less fine than the fugine.

b) Patina

Patina allow to age decorations by using mostly some asphalt but also on tones of varied colors added to the turpentine; sometimes also we use a little oil painting by way of on tones. They are used to warm or cool tones during the decoration, leaving of the principle which one on yellow tone warms and one on your blue cools or takes away.

Its essential object is all the same to age the piece of furniture or the table at the end of decorations by standardizing the tone of group. More uniformity gives more coherence and insurance to the work.

 Then with a cloth we can remove of the patina and the asphalt in certain zones to make spatter the bright places left lit. It emphasizes advantage the cloudy lightings.

Let us note here that ironworks are skated as and with the piece of furniture.

c) The polyester

The polyester is a very very hard varnish, which more and more serves as apprêtage, because it becomes level on surface, and becomes very hard and transparent. His only inconvenience is that we cannot work on the cellulosic, we have to content themselves with collages or with watercolor. He hardens very fast. Often, we use cardboards of color or posters under the polyester. Big watercolorists, as Le Guennec, or Kinzinger, whom my father knew in Montmartre and which crossed two years under the fire fed by the German machine guns, could use the water with the polyester. Kinzinger liked very much making religious scenes on the life and the decapitation of Saint-Denis.

d) The work in the pistol compressor.

The pistol compressor allows to follow the hand work, for example for funds, and to create clouds, by associating 2 or 3 colors. For example clouds of red on the yellow will give with the smoking a dark and warmed leather. Clouds of red so allow to give a warm and orange-coloured tone to the final harmony.

The same thing for the cold tones, the blues, the greens with their infinite ranges in the brush.

When we smoke the piece of furniture we thus use a dosage of asphalt, cellulosic thinner and varnish. Yellow pass directly in the leather. Patina later will allow to limit or to strengthen as we shall add a blue or red ( surtint ) colouring agent.

 It is possible, at least I have the vague to remember having seen my father making it very long ago, to work neutrals, these brown and ochred tones which are of use as bottom to the landscapes.

 A little as the XREF for the software AUTOCAD in computing, which is the world standard in technical drawing. This bottom possesses a tone and a neutral color (8 or 9). It is the same large-scale thing with a piece of furniture. And as in decoration the first layers are very important, and it is where one needs that no varnish, but basic pigments which will help afterward, it happens that we make it for the pistol, but it is rare. It is possible however.

It is clear that anyway every bottom is specific, and anticipates the colors of the decoration to come. We can make nevertheless already a light layer of varnish to equalize the bottom before beginning to work all the decoration on the hand. But it remains out of the question to put too much of varnish in the transition between the pistol compressor and the resumption in the hand of the decoration. The varnish is as usual only for the end.

 It arrives, as for the airbrush and the polyester, that we use hiding places, but generally in cellulosic, these are maintained in more than 10 or 15 cms of the decoration.

We can mask nevertheless in certain cases for example the Greek if they were already burnt with a roller of adhesive tape.

VI. The Greek, the engraving.

The Greek are engraved on the outsides of panels and sometimes medallions. Their exact motives are variable. To sharpen tools we bend the tool by twisting it then we sketch the point with a small grindstone, then the point is cut with a stone on which we put a little saliva. We make the tool come the other way around.

The point must be good in the center, and bent back.

 Then we place the lower left thumb of the instrument, the index and major coming to close the tool, the index above.

We also employ a wooden slide located and increased by painted notches every 3 or 4 centimeters, following the length of the Greek, as well as two steel rules. A big and a little.

With the big steel ruler, having pulled the first lines vertical to the hand by using the wooden graduated ruler, we pull the first horizontal lines on both sides. The whole describes and looks as S of set square aligned in length. Then with the small ruler or directly in the hand we close the Greek of stage in stage.

 It often happens that we engrave varied motives, and also decorations, that is sheets, trees, flowers. It requires a whole learning of the standards of engraving.

The engraving of decorations, floral landscapes is codified enough according to every craftsman.

Sometimes we put some gold dust in the striation, and with a sponge, we remove it plane surfaces. This one is in a handkerchief or a scarf in bulb which lets it spread on the surface and especially inside the striation or the gold dust will stay.

We engrave so sometimes nets, but less often. It is rather when these will be gilded. To the workshop, it is I mostly that made the Greek.

VII. The gilt.

It is these Greek which when the decoration will be finished will be coated with mixture and gilded or silvered in the sheet. These same gilts will be slightly skated and standardized everything at the end.

Previously, we shall a little have highlighted the red of the mixture with a moistened white powder, a sort of talc, so as to age the gilt by making little return the red of the mixture to give her a rusty tone. Indeed, the mixture is either a craft transparent mixture of the trade, or mostly and it is more economic a glycérophtalique painting of red color, which we shall highlight thus slightly to marry her with the gold. The gold is little aesthetic when it is alone, it has to win everything to be emphasized by different agents.

Une solution à base de bitume permet de raviver la dorure pour finalement la protéger avec de l’alcool. Il ne faut pas se tromper dans le traitement de l’or, et je ne me souviens pas de toutes les recettes. Il ne faut pas inverser les étapes.

VIII. Patina, on tones.

Patina add up of on tones. A lot of people does not know how to skate, because this operation asks for a big physical strength at the level of arms and of front arm. Indeed to skate request of the physical capacities, a big vigour in the work, and it is the most important.

It is easy to skate badly, badly to skate means arranging a standardized dark color, what people make mostly, including with the modern comic strip. I think in particular of the airbrush in the water, which in reality is only taking back an unimportant part of the principle of the real patina, of which one of the essential purposes remains to age.

In furnishing, we skate at the same time to age and to give more quality to the lightings and in on tones, we never standardize completely the work, on the contrary, we leave her a little bit irregular. For it we add very few turpentine with the asphalt, and it is made in the strength of arms, by resting(supporting)

For it we add very few turpentine with the asphalt, and it is made in the strength of arms, by supporting hardly and by moving forward irregularly, but gradually.

Many craftsmen, including the Asian, do not know how to skate. We do not skate if it does not there take place to make it, as on mother-of-pearls for example in the unnecesary complications, nor on polyester.

The patina is a part of a whole, an artistic group colors, of ranges, lightings, a composition. She asks for vigour and for physical strength, for very few turpentine, for a clean surface cleared of any dusts.

It is the most important stage, the one who will give not the uniformity but the final character of pigments. We cannot take easy her, and it is by the sweat of his brow that my father decided on finishes, by paying of his person. It was not necessary question to put a strong dose of turpentine and to wait that all the decoration marries a single uniform tint, that never.

A good patina requires a major power and a vigour of execution, associated with a strong ornamental understanding, with a good interpretation of decorations.

IX. Varnishs, finish.

Varnishs come everything at the end. They serve to fix the patina to the lacquer and the whole decoration. Their composition as that of the patina can vary slightly, as they will have more varnishs or more turpentine, as they will be more or less liquid or thick.

It is better to make them before the gilt, because the finishes are alcoholic. You should not too much put it on the Greek.

The colorless varnish has for principle to be passkey, and to fix well the lacquer.

The patina have especially to be very dry and penetrated well before varnishing, and the varnish neither has too much to have to be diluted, nor had to have to too thick.

For this stage, the pistol compressor is rather indispensable, at least more than everywhere else. His regulation is made at the same time according to the pressure of the pistol, and also according to the distance with the support.

X. The repairs, the rebouchages.

The repairs are what costs most expensively to the craftsman and what interests him least financially.

But he has to make them, because it is a security of stability and seriousness for his company. When it is done well, conceived well, and fast made, it's good. It should not drag on or be badly made.

We repair well on by reusing some whitening, that is some glue if the wood is in nude. If the wood is not in nude we can employ some cold cellulosic lacquer, mixed and thickened with some powder of whitening.

 It is always necessary to clean and to dry-clean the surfaces of the piece of furniture or the table which took knocks and which are to repair. We can when we go to the private individual to repair directly by taking a little coloured varnish, about as the one who is used during the smoking, so as to make up the imperfections and the defects.

It is also necessary to warn the customer and to warn him. It happened that a customer puts a warm and ardent iron on the decoration of a table. The lacquer is fragile, and even in time, when for example the humidity begins to penetrate into apprêtages as soon as a hole or a small boho formed. The wet corners are disadvised. Such furniture more has to win to have spaces empty and aerated on both sides.

 Oil painting, in the water, pastel, cellulosic lacquer, decorations, still lives, the landscapes can be handled on all the possible and conceivable supports.

XI.Conclusions.

We saw it, the offensive against the old corporate association exists, it is real. There is a real confusion which took place between the modernization, the progress, and what we made, that is we attacked smokestack industries while they are the prerequisite, the prelude to all the industries. And it under the pretext of modernization, without taking into account the quality.

It is alarming to notice how budgetary masses, important subsidies, go to modern and creative said sectors of employment, and not to the others more creative of employment. Any training judges itself on the level and the quality.

Multinationals do not understand it of this ear and look unfavourably on the pool of jobs which represents the small business sector and understand only their profit.

To counter-attack there is/are not only the law of the number, but it is clear that some only individuals can nothing. The cottage industry would have to can have the same economic power at the time of counters, and we have do not still to be there for the moment.

 There is no joint plan on a national scale, it belongs to the industrial partners to decide on it and to sit down at the same table.

 Finally, it is necessary to pay tribute to those who made the profession and fought all their life for her, those about whom we never speak, whose good faith is not to be any more demonstrated, and not to those who shot down her by hijacking the principle of the tax ( the URSSAF - French Body Managing Social Security Patments And Funds ) in their own profit and for bureaucratic profits.

 Who says at the end about the small business sector said at the end of the freedom to undertake and at the end about the freedom every court. We shall never insist enough above.

 The last three years of the life of my father took place in Montmartre, district which he knew like the back of his hand. The district of the watercolorist Kinzinger, which spent two years under the fire of the German machine guns. He liked very much making watercolors on the life of Saint-Denis as I said it. My father knew all the district, and all his history, of Charles-Nodier to Marcel Aymé, until Cézanne, Van Gogh, Utrillo, Gen Paul and so many others. All the big painters before, hanging and after the impressionism sound past there. In particular by the museum of Montmartre, in 12 street Cortot or he painted and worked. The wash-shed of Picasso is just below.

He was member of the association " Les amis d' Utrillo " and also admirer in the basilica of the sacred - heart. Often went to us to the mass of 10:00 pm, and he knew well people, regular customers of the district, people of the Mound in a way.

 He painted a lot in Montmartre, especially views with Marthe Vertex (and not Berthet), widow of the poet Jean Vertex, who often has him served as model.

 Utter and Suzanne Valadon, the parents of Utrillo, lived in the apartment, below which lived Claude Estier, which my father also loathed and who was never there.

Just to the right. It is in these floors that my father saved a lot of sculptures and objects for which he made and put workbenches in joinery.

 In the floor above its apartment accommodated Claude Charpentier, whom my father hated excessively, he made an incredible noise, with his daughter, whom I have never seen and who was I consider paralytic.

  Paul Yaki speaks in " The Montmartre of our twenty years " p. 103 to 105 of Octave Charpentier. He describes very well the 12 street Cortot in these pages. Raoul Dufy passed there also, Emile Bernard also.

 Carpenter held somebody, doubtless his daughter. My father did not stop cursing him and giving quick sweeps to the ceiling to make stop the noises of groans. Although it is there, he considered him as a "cheat".

 We could as regards this artistic period of his life speak about hypozeuxe (or parallelism). Mrs Vertex was one of only persons who relied on him, and whom he trusted, the former owner of the apartment of Utrillo as we said it. We could also speak about énallage, which is the exchange of time, of a number or of a person against another time, another number, another person. She was a woman of transition, his hégérie and his last muse.

  He made some self-portraits which contain a certain anxiety and a certain interrogation and intro or review, as the paintings that he made with blue and green cold tones of my grandmother evoke well enough her disease, the alzheimer. His painting stuck very closely on the subject.

In the time, because Montmartre is the last time of its painter's life, and a little his district of adoption and death, I had taken him to the lounge of the independents to expose with the Catalan painter, the surrealist Prudencio Salvador Asencio, the friend who had come home to this opportunity.

 He often went to the basilica, or he knew a hurdy-gurdy queen blind person; he was an admirer, his friend father Charnin, Swiss priest, often came to visit him to the museum.

 Synecdoche, metonymy and metaphor are three tropes more collectively called figures of sense which we find in his work. The synecdoche is based on a relation of inclusion, the metonymy on a logical continuity (take a stand with the whole), as for the metaphor, it is based on a relation of analogy.

In fact, we find many stylistic devices in his work, even if this one is difficult to interpret.

It is true that the painting humanized, became more democratic, and even spread on a large scale, but after all, we little spoke about the painting to the twentieth century of an intellectual point of view.

The only ones who gave another image of the painting are the successors of Freud and Jung, the Lacanian, I think in particular of Ollivier Kaeppelin, or some other schools of psychiatry in Europe. Let us say those who explained a party of the painting by stylistic devices. Since Aristote until the tropes of the twentieth century, many things evolved.

But for the rest, and it is a constant, we left the artists little aside.

And then somewhere, an artist is always a little bit crazy also.

 My father knew in his lifetime many of the big artists, we could not all quote them. But during his life, he was went alongside to a large number. He had the opportunity to take a stand for Francis Bacon in front of a journalist, who is a little in England the heir of Turner and Edward Burne-Jones, in the sense that as my father he tended to create disorders and to awaken the sensibilities almost everywhere. He also knew very big Asian, Italian, French, Spanish artists. He liked very much Fujita, and this famous American photographer, Man Ray.

 To tell the truth, all passed by the museum Cortot, which acts a little here as funnel of the Mound, it is the place of certain vulgus sung by Francis Carco and many others, just a little higher than the Agile Rabbit. Artists of any tendencies, all the circles, found themselves there.

Montmartre is a little a galaxy to part. Montparnasse is a small answer.

It is rather the district of the Americans.

 It is clear to take a little of height of view that Jesus is Turkish piece to a certain extent, Turkey were one of country to the world which has the largest number of holy places any merged confessions. It is there either is the grave of the Virgin Mary, the place or Paul was imprisoned, or are the rests of the prophet Mahomet. Really, we say that the mother of Jesus simply lived there, it is everything.

Although Jesus besides Greek and besides Hebrew spoke about the Aramaic, about language to which is rather close the church Chaldean, so criticized assyro as soon as Ministers claim to show secularism. The word Jesus has the shape of a fish in Greek.

Moreover, I knew Rénara Delatre, one of the biggest Greek Azeri and Turkmen pianists of the world, the origin. The fact that the Christ has a universal title, is of for the reduction in attendance of churches, for the crisis of the vocations. It is also a way as Saint Thomas to reduce things to their simplest expression, to the main part.

I would say that the discovery of the gospel of Judas should bring a major lighting to the civilized world.

I remember having gone to a mass with Nina in tribute and in memory of president Poher.

The church of France is more active than we believe. And especially, she shows modesty, attention and moves forward only with infinite precautions.

Certain current Ministers, who do not hesitate to call up to the racial hatred against the church, or qualify her as sect, are people who in a normally constituted democracy, should be considered and to go to prison. Their ignorance keeps pace with their totally upstart conception, ENA alumni do not know how to any more or look of the head, do not stop attackingshort of young Ministers.

Very opportunist people are got through one more time the stitches of the net.

The separation between the church and the state is a thing, but what consists in decreasing whole pieces of the official church is the other one. It is for the justice to seize such declarations.

It is another shutter of our society, that of the laissez-faire, that of a totally instrumented parliamentary bureaucracy, that plays his partition indefatigably, strikes its knocks against the most miserable, the poorest. As if it had become overnight shameful to build an oriental assyro Chaldean church or a mosque.

A force of opposition, a capacity of reaction and uprising is missing.

And only the people can suggest solutions, at the need to rage, punishing people who express themselves according to them in the name of all and of the quite whole national community, nothing less. It is necessary to endow our institutions of a real judiciary against François Fillon and the other gravediggers of the republic.

 The genius of the artists of yesterday, that of the artists of tomorrow, will always be to amuse, to enlighten the masses by refusing to bend the spinal column in front of decreed standards as we oppress the poorest layers of the population.

An artist produces wealth with his own hands, he does not have to be ashamed there.

Those who should be ashamed today, it is all the politicians' troop who made of the fifth republic an anteroom of the third, a merciless system or any initiative is irreparably stopped by those who think of having the right to decide of what is good and what is bad.

 It is their own reading of the right that has no sense. The main crisis of the democracy lies in the simple fact that we can admit that the right is governed by such a way by some some, hammering constantly the vision of the world.

As wrote it Gautier: " any soul is a sepulchre where are lying one thousand things ".

From there same way, it will be a question one day of continuing the accomplished work, and of continuing the road which was drawn. Sartre criticized Gautier notice, I believe that he was right a little bit also to distance himself already.

My work and my experience crossed as archivist in the Louvre of the Antique dealers at the same moment as the works of the travel of the Mona Lisa reminded me that the Louvre is the biggest museum of the world, the symbol of the art in France.

France is not a democracy as the others. The proof is there that we made tons of zyklon B to Villers-saint-Sépulcre, in the Oise, during the war, as we produced it to Dessau, near Halle, in oriental Germany. The country knew its dark hours, its hours of chaos and ugliness, as all other countries.

The homeland of human rights widely collaborated in the destruction of the western civilization.

But when I read the works of the mathematician H.E. Huntley on the golden section, when I measure the infinite area of what can bring the mathematics to the art, I notice that the hope exists, he is tangible and tangible. And I catch examining and formulating mathematical hypotheses, because as wrote it Poincaré: " the experience is the only source of the truth ".

Saint Louis made about twenty times to the abbey of Royaumont, where I found the book of the English mathematician H.E. Huntley and Marguerite Neveux. The recoil taken on the civilizations of the antiquity gives another outline of the mathematics, which aims towards the synthesis.

This experience, this approach of the beautiful, for example the reports between phi ( φ = 1,61803, φ’' = 0,61803 ), the golden section, and pi ( π = 3,14 ) or the other very numerous mathematical dimensions in the field of the geometry and of the algebra, this office of the artistic construction of which √ 5, allows us to get closer to a picture which would be the one of our current report in the art and in the beauty, that of the image of our own dimension thrown on our architectural and other realizations.

 The man suffered from his experiences, and he again has to learn everything. The works of Fibonacci ( Léonard de Pise), its famous continuation, as Pascal's triangles, the Chinese triangle, are so many elements which prove the age of the investigations within the mathematics and the considerable importance of the golden report.

The myth of the golden section φ = ( √ 5 + 1 )/2 and φ’ = ( √ 5 - 1 )/2 extends in the music, in the painting. We find it everywhere in the nature. We find it in the technical drawing, of the building, the plumbing, the air conditioning.

We always find it a little bit by surprise, unexpectedly In the Greek, in the floral decorations, in all which returns the substantial and constant small business crafts.

 

 

 

 

Manuel of introduction in painter's job laqueur decorator

 

 

 

Synopsis and context of the work of Manuel Diez Matilla

 

Revision in Sunday, March 20th, 2011

 

By Christian Diez Axnick

 

Left 2

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  Without the former order, the order is saying modern and evolved would not move forward, as Gainsbourg would not practically have existed without Dvorak, or Racine without Tirso de Molina or the Cid of Castro. Any Romanic or Gothic truth is master of its implications. The Gitanillos from Jerez are for example the biggest dancers and the biggest dancers whom I have never seen of my life. This highlight, I saw her with Nina.

I was lucky in my life to see and to intend to sing one of the biggest, doubtless the biggest mezzo-soprano of the world, with my father. She is Argentine and sings in the Argentine classic directory so splendidly exceptional. The vocal art pushed to such a level is a question of another order, another dimension. My father already evoked this question in an autobiographical personal text which he left on the fire of the church Santa Catalina arisen in 1957 to Toro. The manuscript is very previous apparently to the concert of the RTVE in the TMP

 A diva of this talent can allow to let escape from sounds and melodies " callejeros ", most callejeros possible. We shall talk again of it in some decades, when the others will vainly try to imitate it.

The serious art is inimitable, its invoice is brought up always incredibly. It is not the murderers and the butchers of today who can venture in these exercises.

Exactly, the art, the truth, the big, is an exercise which distances itself from the common.

Sometimes he throws a glance by far, but always with a height of view or a way of equating and of highlighting all the cheeky humour of the common people.

The own, the bottom of the classic art, is to bring in such or such strength, such or such moment, to show and to restore the perusal, to bring its leg otherwise than by incantations.

 The rigor of a conductor Italian as Campanella, the genius of his decorators, makes of the opera which announces a company of very high scale, a very high claim and a very strong artistic level. Even at the dawn of the XXIth century, the hard-line strength shows itself capable of seducing the public.

Certainly, it is not the most wide-spread question, but the facts are there, the coldest classicism can again have a rigor, ideas force, and to stand out. It is a fact.

A) The signs of a revival.

It would be vain to think that the art is going to stop existing. The official art is powerful for a long time. The big totalitarian ideologies included him, of left as right.

They make live a model or all which is critic is sacrilegious by nature, all which is not in the standards fixed by the market of the art is squalid.

 The art which interests us, and the word art means way of life, is more in margin it is true of the society. It is the one which makes a community of interests, live and also a cultural community. Why cannot the jobs not disappear?

Because they are useful for the blooming of the man and for his dignity.

The genius of most of the religions is to have known how to give a vision, objective or subjective.

A long time, the art was placed in the center of the decisions, in the center of the powers, in correspondent to a fixed company. For example queen Sophie of Greece comes down from Vélasquez. She decides on whom will have a foundation, which modern work will have this, what is good. What is not him. The same thing in France, following the powers in position the central power decides on attributions. This system falls from the inquisition practised by the companies in Burgundy. It is a shape of officialized and legal terror.

The inquisition practised by the companies in Burgundy considering the population in the Middle Ages, reached appreciably the same ratio with regard to the population as what it passed to Tréblinka or in the Baltic States. 200 000 to 500 000 deaths on a population of some million individuals, are as much than one and a half million to three million deaths on a population of several tens of million individuals. It is the same matter in size, in dimension, in quantity of gibbets. It is necessary to understand that one of the old levers which serves the will to terrorize a population, it is the one which consists of this sinister statistical arithmetic. We are sure to reach his target.

 The father of one of my friends, Mr Moreau, a Castillan as me, was dug up living at the last minute in the last seconds on the liberation of Tréblinka by the second classes of the Red Army. Another two or three knocks of shovel and he had died. He returned with the American red cross which arrived 8 months later. He weighed only some kilos then. In the time, we fought with pebbles and sticks against rifles and machine guns.

 From Manuel Diez Matilla, who was a man of a sacred character and a certain tempering, everything falls to pieces. The centers of decision and power are not so important any more.

  My father did not hesitate to attack such or such at the need.

His trial to labor relations board against the director of the museum Cortot lasted 3 years. He was not afraid, and went even farther.

 Here, the artist has a capacity, he imposes his conditions. My father could paint we can say it honestly without going into all the details practically at the level of a Claude Monet, for me who followed him during almost all the career, good beyond, but he asked for the consequent postponed salary.

 Indeed he took it with the VAT and the rest, because let us not forget it, he will have paid the contribution practically 7 years of his life without it returns to craftsmen or to his corporate association.

 In its profession of boss of company, the working strength is then dominant, it is necessary to say it, and much more for him than for the employee, although the small brooks make the big rivers.

 In the same way, when Mozart died, we thought of the time that more nobody would come to revolutionize the sonata. In the death of Mozart, Beethoven revolutionized more of 400 times the sonata instead of 3 or 4. Here the artist imposes upon the public for the first time. But he does not still impose his financial conditions. We always impose him his condition by the strength, at least partially.

Mozart was an immense and big genius, but also partially a disabled person.

 From my father, we can say about the craftsman that he imposes and financial conditions bound to the cost of raw materials, and the service, and the working strength while keeping the capital gain and the royalties virtual, without counting the charm of the novelty, the style and the material comfort.

 And it is normal because a table or a piece of furniture can be resold, speculators can resell the goods, without counting the forgery. But the fixed price is definitive. It is the condition to the contract.

 Let us not forget that Midavaine is the first French entrepreneur to have made Asian decorators come in France.

My father started in any debuts to him, and later or previously, he also worked at an Asian, his salary was its food.

But up to here at the end of the 50s the decorator is salaried, he did not become his own boss yet, do not free to sign contracts or not and to undertake, what is not going to delay.

The counterpart of the question if we consider the freedom of company is the risk incurred at the same time by the boss, but also by the employee, especially when the orders stagnate, or at the height of the crisis as the one who followed 2 oil crises.

The social progress did not follow rather fast, and doubtless one day public authorities will include it instead of sabotaging the most former industries. I think in particular of all which would in reality be made in the small business crafts, the bonuses, the meal vouchers, the mutual insurance companies, the membership for an honest pension scheme.

 The example of my father proves that we can hold about twenty years, the decoration of the lodging house ( Décor du Logis ) was one of his main customers, with Garouste and Jeumont, but with partially charm of the novelty and a very high and continuous quality. And beyond?

Beyond it is more difficult. Furniture hide TV-HIFI-VIDEO of my father is not completely adapted any more to the current market of the laser disc and of the flat screen.

It is necessary to iron by engineering consulting firms, to redo plans of furniture, tables, what I make since a few years already, to take into account the evolution of the computing and the new technologies.

But we do not recompose a park machines so easily. It will be necessary a few years still before the investors re-made surface, before workshops are reborn, before stores reopen again

 My aunt, Maruja, was one of two or three main founders of the radio orchestra Spanish television ( RTVE). It will have worked, being she even very big one violinist, with some some of the biggest musicians of her time. It goes from Narciso Yepes, to the israëlien violinist Seyrig, to the other big pianists and the others very big musicians. It is clear that we are artists' family, and that the most tangible signs of the profession which exercised my father are very difficult to discern, but tangible.

His father, the brother of my big father, that is the uncle of my father or still my big uncle, was a mayor of Toro during the civil war. Opposite to the time in the fact that we shoot people, of whom of the women and children, by tens in his city, he was shot in his turn by the Franco supporters.

 We cannot say that the art can disappear overnight, he is passed on of generations in generations. What is not still passed on exactly in the same way, it is the value work and its human principles.

 I think once more of this big Jewish film-maker who filmed thousands of hours of documentaries in the underground, and who had buried kilometers of dandruff, dug up in the end of the war. France with Bois d’ Arcy kept for a long time originals and Israel copies it movies. He put 5 years starving in Paris. I arrived on one year too late for the interviewer. He had died in the poverty one the year before.

 I think that it is necessary to remain optimistic, and to keep its soul, to take the measure of the human stakes. But we cannot still be optimistic when we see the relative indifference in which he died. It remains significant.

The same matter with this group of painters which had built up itself it seems to me to Auschwitz. Mrs Bouissy had spoken to us about it and had shown us photos, cards. The artists always tried to testify of their condition.

To tell the truth, we see the forerunners of a revival of the small business crafts today. I mean there that little by little the sector bandages its wounds, little by little, activities become again profitable, thus susceptible to restart a day.

But as long as there will be no parity between us, the old world Judeo-Christian as call him certain and the monopolies which exercise multinationals, as long as there will not be more social justice, the traditional sectors will remain blocked and dependent on their capacity of investment and on the absorption capacity of the market.

A change in the way will be needed to proceed of our government, if we want one day to go out of the rut. Except today, the finance is more important than the industry. The financial sector puts its cards on the table.

The syndicate is a solution among the others. But he remains symptomatic to notice that one of the places the least appreciated by the politicians remains the chambers of commerce and small crafts, so we know that the finance supports multinationals.

It is good the worst place for these sirs, at least that one we go only for some inauguration or to glean some distinction.

At any rate, most beware good to throw itself into the scrum.

Let us be serious, the problem of the small crafts cannot limit itself to the political problems. But we cannot compare France under Louis XVI who for example was fascinated by locksmithery and had made with his own hands the lock of the portal of the castle of Arnouville, this portal being in the castle of Thoiry today; we cannot compare leaders implied by the own hands, and bureaucracy ready for everything to speculate on the back of craftsmen.

The welcoming committee cannot be the same, no more than the human principle.

Curiously with Nina, people of the branch of Valois had offered us a kir during an exhibition of painting in Sologne. We had gone with a friend painter, a Corsican there, which wanted to sell them a piece of wood in mahogany. A countess had received us in Mont-près-Chambord. She went down Valois, one of branches left by the Capetians.

Valois always made me a good impression, because I love these people Solognot (the baroness lived for a long time in Sologne before selling and leaving to Bormes-les-Mimosas or she finished her days with my aunt Méré, the whole punctuated by the employment and the work of my mother also).

Valois to return to them there much less conspired against us the Castilians if we compare them with the Louis which followed one another just before the revolution, which they did not stop encouraging Portuguese to attack us, at the historic moment or Castile was very poor and miserable all the same, especially if we refer to the most discriminated popular layers. Regrettably kings of France became allied in Portuguese and waged war to us, letting the French revolution annihilate the people of Vendée a few years later, abandoning the crown. Fortunately we won this war, exactly to Péléagonzalo, in the plain near Toro.

I think it says that this house of Valois can again serve France, even if I am not really very monarchic. You should not be more royalist than king, but it is adorable, polished and hospitable people, opened to all the artists, even to the children that do not miss talent either moreover.

To return to the caciquisme there about which we spoke, because we had approached the subject, I would say that the own of the caciquisme, is the waiting-game. We have the impression that these birds of prey whom are our leaders wait patiently when they perched as high as possible, multiplying the cawings and the sarcasms. But the paralysis became the own of our democracies, which not satisfied to be allowed offend, let the lie and the poisoning of the masses spread.

All the means of poisoning of the masses are good to dull the children from the youngest age, and make sure a media power that have him could say about divine right in its deep inspiration. The examples abound.

The presenter of 8:00 pm, or of his friend let us let us take the case of Claire Chazal, Poivre d’ Arvor. One second they would imagine only in democracy we can dispute their monopoly, their right for the expression.

Nevertheless Claire Chazal claimed several times that the Americans freed Tréblinka before the Russians. I do not know how much money she received for that.

But she also praised a war criminal as Charles Taylor, who proclaimed himself a president of the republic of the Liberia, and who has to envy nothing to Hitler.

 His hired men have even almost murdered me, in Paris. We could continue even for a long time. The list is long, the tortures and the indescribable crimes. It goes of the summary murder, in the mutilations and in people whom we throw alive in pits with snakes.

  Without counting ethnocides of all kinds, of which that of the mandingues. Charles Taylor, it is three ethnocides and three genocides, nothing less.

I worked with Ghislaine Carlessimo and sergeant Garcia, who also have was almost murdered, in particular at the airport. I do not speak here about the South American artist, but about the commercial manager of the ex-company Bidermann.

The lead screed is there. To them the honors and the glory, the money, but we cannot have everything in democracy. That I know they have never implicated a big thief of castles as fire president Mitterrand, or his friend Seydoux. Their conception of the information is over, totally anti-legal.

 The objective of the 4th international, beyond the tendencies, is also a cultural objective.

The labor and communist tradition is marked enough in France. To collect the largest number, the herd, is a mission.

I think of the big national subjects, Compiègne, of Pierrefonds, Villers-Cotterêts, all which cemented, builds in the course of the centuries the thought and the national fate, by way of the cathedrals of Senlis, Amiens, one of the highest of the world.

The class struggle is a historic principle. Constantly, periodically, the imperialism of major powers makes more striking. He aims partially at dismantling the national unity.

Without the economic, military and political support of the superpowers, there is not so for a long time, the Catalans of Samaranch and Maragal would not have obtained the games of Barcelona. They who exterminated half of Europe, crossed off from the map the quasi-totality of the Baltic states with the Nazis. I had written to Samaranch to try to encourage him, but without any illusion.

Major powers, as the United States and the CIS are very aware of it, moreover the United States arm Donosti, the main subsidiary of ETA in Spain. All the weapons are American. It follows what it passed during the civil war, with the American and Italian implications. America arms here one of the main terrorist organizations of the world, as for Al-Qaïda. Moreover Bush were Hitler's main silver cabinets.

This contradiction of the United States on the humanitarian plan is a constant of the American imperialism.

We see him, the impact and the power of the superpowers stemming from Yalta have a power of devastation, and very fast the losers of 39-45 started again of the ground on the winners. Divide and rule.

 It would be vain to place only the future of a profession from the point of view of the geopolitical balance of power, but all let us let us be clear, constantly, presently, which concerned the political power was made and undone at will. We do not live any more in a world endowed with a rational mould, but in a world or nothing more of likes, and even if the politics is a war, she is never acquired to whoever or won beforehand.

Far from me the idea to reject some and not the others, the cause of the peace has to move forward anyway, but it is clear that foreign powers cannot care on our place of our stability, far from it.

 The practical joke is enormous, it reached its paroxysm. Decades of tyranny became little by little our only common story. We can see there only a sheer chance.

The fate of Europe is not a small matter.

II. The cabinetwork and the joinery, the workshop.

a) The apprêtage in joinery.

It is necessary to distinguish 2 types of apprêtages. Primer cabinetmaking, and sometimes joinery, which correspond to the assembly of the wood and the furniture (wood glue, glue agobois) and apprêtages in the white of Spain or Meudon, or still purple, who are the most essential apprêtages in our profession, and who will serve as preparation for the first layer of decorations or as the decorated panels. It is famous Coromandel in lacquer of China and Venice.

Let be one plans to make panels, it is the case mostly. Well then we get ready all the piece of furniture in function. Let be one does not plan to make panels, for example in the case of certain tables or certain furniture, and in that case rarer we get ready another way the set.

Mostly, we make panels, and we can obviously have it in reserve, especially if they are the same, but it is very difficult to prepare them also anyway. The apprêtage is the most important stage which will determine the quality of all the work then.

A bad apprêtage will give a low home-made quality, even though nowadays we cannot disregard the polyester and the other parallel or specific techniques. A very good apprêtage in the whitening for example will give one much more final high quality.

The technique of Coromandel determined the quality of the lacquer of china, the whitening is the same technique more or less. We shall return to the following chapters there. But let us insist at once: the quality of the apprêtage is determining for all the continuation.

When we pounce an apprêtage, we pounce is dry, in finish mostly, just before the lacquer, is wet but in that case exclusively with some cold water, never some warm or tepid water. We sometimes use wooden holds to make hidden recesses.

We never wet too much, but just what is needed. A slightly wet sponge serves to clean and to level the medium, to clear it of impurities stemming from the sanding as one goes along.

Indeed on, we employ of the brown wrapping paper or some emery cloth more used in finish than when we rough-hew. Sanding in the water, the paper is slightly wet, dry sanding it is used dry.

Especially let us repeat it, on the whitening or pounce only with some cold water, ever with some tepid or warm water, by limiting the quantity of water. Never of puddles, it will stress and would create small holes.

Indeed respect the direction of sanding by adapting it to the piece of furniture or to the table, in such direction defined at first. We can cross, but not change direction.

Let us not confuse the apprêtage, that is the white, with the techniques of cabinetwork or joinery, for example when we use rules of blocking, these sorts of youngs was clamping automobile, or the others technique of manufacturing. Here we indeed speak about some glue, which surrounds and coats a whole piece of furniture or a whole table.

b) The assembly and the dismantling of furniture.

According to the occupations and the corporate associations, the assembly and the dismantling is not still the same. To us, it is already necessary to separate the locksmithery, the hinges, saw them, and indeed thinking that all which is metallic is numbered and put in boxes.

Ironworks are a part of the skeleton of a piece of furniture, they already rose and unsettled with the carcass and the piece of furniture. We shall need it again at the end of the manufacturing of the piece of furniture.

 A meadow assembly allows to work holes with a point and to control everything, to prepare the ground before the final assembly which intervenes at the end. Then we unsettle, we classify and we tidy up everything temporarily. It is important to know or will go the holes of hinges, both on the piece of furniture and on the panels, before the apprêtage and the veneer, not to risk not to be able to find them later in certain cases, according to the current works.

It is necessary to plan a place in the workshop for such piece of furniture or such table, by watching to tidy up the parts of joinery in the same corner of the workshop, and by avoiding mixing everything. Rooms must be tidied up well, as well the wooden rooms as the rooms of ironworks tidied up in boxes and numbered.

III. The preparation, the primers, the panels.

c) The white of Spain or Meudon, or purple.

The whitening is considered as one of the best primers in the former. The only ones of techniques more modern as those of the polyester succeeded recently in dethroning him, and still only partially.

His advantage is for example to allow the use of the cellulosic lacquer during all the later stages of manufacturing. Some other lower-quality fillers also allow it, but not the polyester.

Sold in bags, the powder serves to prepare the whitening, used very warmly for the veneer of panels, less warmly for the preparation of primers.

When we prepare the white, we take a steel basin which will go on the fire, rather in the gas, the bottle being connected with the regulator with 3 or 4 feet on the ground.

On this basin we place flat stones, and above steel bowl in which will be made the preparation.

We hang on a brooch for the veneer, the small and average brushes by means of one folded up nail, on the basin, the hairs in the water because the basin is filled with water, and the bowl comes in the water in the center of this one.

According to the preparation, we add pieces of gelatin which come to merge with the powder, we can add a little liquid or patches soaked to liquefy temporarily the preparation. Once the rather homogeneous powder and the glue, we begin to turn with a big stick everything around the bowl to eliminate lumps, by watching to rub well against the walls of the bowl.

All these operations take place over a low heat or means. Even on big fire, but although he arrives he never has to form of bubbles in the preparation and this one never has to boil. In case of boiling we reduce then the fire by acting on the regulation gas. When the obtained substance is homogeneous and cleared completely of lumps, and for it it is necessary to stir regularly by turning, then we make it more or less liquid or thick by adding or not some liquid, and we can get ready the piece of furniture or the hot table. It must be anyway very very warm.

We make the first layer with the brush for hidden recesses, or for the brooch for the outsides. We let it dry a little. When the first layer is enough hard or dries, but wet, we pass in the second layer. Generally 2 or 3 layers are enough according to the popular thickness. We always leave the wood with nude in the place or will go panels, generally on the outsides of the piece of furniture or in the center of the table on the top. These will be later stuck.

It is because of this working stage that we can understand the necessity of the use of soft wood and not wood hard as the oak. It is easier to get ready for the whitening on the battened, the plywood, and naturally on the lime tree and any sorts of soft wood, so that the hot preparation penetrates well into the fibers of the wood. Wood as the poplar or the wild cherry are already a little harder, the oak and the mahogany being the hardest wood, and the mahogany is besides a precious wood.

However, the wild cherry and the poplar are used. But the battened, the plywood, the lime tree or the willow are more current in this profession, with sometimes the wild cherry.

In this professional sector, the battened is rather often used thus, and also the lime tree which is already a luxury item. The stage of the apprêtage constitutes the main reason.

Other wood lacquered without apprêtage and other techniques exist, including with the gilt on wood. But in this case, the wood is prepared before being lacquered.

This stage of the preparation is fundamental; the more the quality of the preparation will be raised, the better the following stages will be realized.

For furniture, we cannot get ready that several times because it is necessary to make inside and bottom of the piece of furniture. Piètements will thus be in the air and the top will base on holds to which we shall have fixed of the carpet, while we shall make the glue for the inside of the bottom. It is necessary every time it is dry so that the piece of furniture can base on holds, and to be able to move forward the glue and the apprêtage.

d) The glue of skin of rabbit.

 She is used with the whitening and is of use to him of binding. We prepare her by letting her wallow 24 hours in a bowl with some water. Then we preserve the water in which the patch of skin of rabbit wallowed to reuse her later in the preparation of the whitening. When the patch is not so hard, but soft any more, we melt her on very soft fire in the bain-marie by watching that there is and is no boiling

 The solution obtained from greyish color is then poured into a plastic bowl rather and we let her cool. She will become as a sort of gelatin marrying the forms of bowl. It is this gelatin a little as some rubber which will be gradually added to the powder of whitening for the preparation of the whitening.

A good glue must not be made obsolete. The retailers sell her in bags, sometimes we find less big quantity that roughly.

IV. Panels

a) The preparation

Panels before being stuck are prepared on tables or wooden panels mostly laminated. We use to make them a lot of water, in particular some paper which becomes sticky as soon as we wet him.

A big sponge serves to wet the panel of plywood with big water, and both faces of the paper. When it is wet enough we display the paper over the wooden panel, and with the sponge, we return the water towards the outsides so as to stretch out the surface of the paper which will serve to make panels. Then on the back of the panel, we fold the paper in a way, of set square. Then we place the adhesive tape or rather the paper which becomes sticky as soon as we plunge it into a bucket of water; in this way we fix the paper on the back while watching over its staying tightened stretched out well.

Then we let dry the panel without letting it too much explain to the sun, because he could crack by drying, because he is going to lose all his water by drying.

Then when the panel is ready this one is always made with the glue, but for the knife. We go to a sense, in curve, then when it is dry have always returns in curve in the other sense. When the thickness is sufficient we let dry.

The quality of panels and primers will be determining for the global quality of the work.

 

 

 

 

 

Manuel of introduction in painter's job laqueur decorator

 

 

 

Synopsis and context of the work of Manuel Diez Matilla

 

Revision in Sunday, March 20th, 2011

 

 

By Christian Diez Axnick

 

Left 1

 

 

 

Contents

 

 

I. Introduction

A) Foreword.

B) A profession which disappears.

C) The signs of a revival.

 

 

II. The cabinetmaking and the joinery, the workshop.

a) The apprêtage in joinery.

b) The assembly and the dismantling of furniture.

 

 

III. The preparation, the primers.

a) The white of Spain or Meudon, or purple.

b) The glue of skin of rabbit.

 

IV. Panels

a) The preparation

b) The sanding of furniture, tables and panels

c) The veneer

 

V. The decoration.

a) The cellulosic lacquer.

b) Patina

c) The polyester

d) The work in the pistol compressor.

 

VI. The Greek, the engraving.

 

 

VII. The gilt.

 

 

VIII. Patina, surtons.

 

 

IX. Varnishs, finish.

 

 

X. The repairs, the rebouchages.

 

 

XI. Conclusions

 

 

 

 

 

 

 

I. Introduction

 

a) Foreword

 

 If it is a legendary and mythical profession, which has never had its CAP (Vocational Training Qualifacation) until this day, it is the one to laqueur decorator. This extraordinary profession is originally poor man's job. She was not able to support the economic weight of multinationals, oil crises or big monopolistic groups of the wood.

But this job  in the deep and numerous roots stays and lives a legend, so much he obliges the artist to draw in the depths of his resources, of his working capacity, of his know-how, of his imagination and of his resourcefulness.

It is because this job associates several jobs at the same time and juxtaposes them, because it accumulates the difficulties, that the result is sometimes beyond the conceivable.

 Let us make no mistake, it is the bad faith, the wickedness, coupled with the ignorance and with the general contempt which made of this profession a kind of ghost profession. It is hardly the opposite, and we can assert it without any accommodation, without cutting itself or escaping billion fundamental questions.

All the professionals know it, the small business sector is permanently threatened, and in all the domains of the private initiative, so much the rapacity of the political world is without exit.

 As everywhere else, you should not make the confusion between the ancestral fears, and what we can very well take in the first degree.

The characteristic of this profession, is to have escaped never in all the cults. The truth is that we left her by the roadside. It is not an enigma, but the truth. We could make every effort to say and to repeat that there are 12 apostles for 12 small prophets, and 4 big prophets. But practically all the religions of the world guessed him, the problem is the one of the really unwanted customer, the one who wants some scatology, the pornography, the one who does not know what he wants.

Jesus Christ knows that he is not Jérémie, but the problem does not really arise, Jérémie is not either Jesus Christ.

It is not question here to question such or such esotericism, the question rather is to be put at the account of a clientele of deceptive and lost speculators who often make waste their time and their money to the professionals whom we are, wanting everything and anything.

All these traders, these experts in marketing add especially some confusion. Jesus did not hunt them of the temple without reason.

We cannot recreate Louis XV, nor same Louis XVI, enthusiast of locksmithery and watchmaker's shop at the appropriate time, we cannot either go out of the profession and its general frame to quench the mindless needs of such or such.

Albert Einstein had no David Aouat in his pocket, finally not in the spiritual sense, it is clear. He was only dreaming about a more brotherly, better Jewish world.

I had quite a lot of disputes and problems with Aout, as Nina. As Berthe Mann, a very close friend of my mother, it is rather the archetype of the Jewish fundamentalist, the ex-member of Bétar. Einstein was a more opened German Jew, in the less closed reasoning. Do not we go somewhere with the EPR, doubtless also, to realize one day the dream of the alchemists of the Middle Ages, that is to change the golden lead ?

At any rate, the EPR is the only alternative in the fact that our knowledge in physical appearance can evolve. Many evolutions are conceivable.

Interfere in the problems or the controversies between Hebrew trying rest, but the real Christianity keeps its label, its facade.

To tell the truth, the own of the small business sector, it is to guard the strength of expression, its codes, his subtlety, the strength gets lost as usual with the old age. You should not dream too fast either.

It is clear at the end of the Second World War in 45 that the Jewish world is split, and even the Christian world or the Arab-Muslim world.

I knew Katia Ackstein, of her adoptive name, one of the biggest philosophize talmudistes in Germany according to war, which worked as 2-year-old ethnologist in the Iraqi South. His father was a Jew of London, an only survivor with her. All her family was decimated in camps. He had stayed in London.

I lived 10 years maritally with Dominique "Nina” Vende Zimmermann, whose a champion of Paris of 20 000 the father was and whose grandfather was shot in 44 near the ghetto of Warsaw.

I was for a long time also and even until today very friendly with Nicole Lévy, who was also the friend of Jean-Pierre Bourrin, died from the consequences of chemical bombardments in Iraq. We do not know if it is the Iraqi or American aviation which bombarded them. His brother made 5 years of Vietnam.

My father made a magnificent piece of furniture for Georges and Bernard Lech, the ancient football players of the stadium of Reims and the matra racing. Both are also of Polish origins. The father was on a wheelchair, he was the youngest selected player in French team, his son continued in Reims and in the matra racing. It is he and his wife who had ordered him the piece of furniture, finally two furniture it seems to me.

It was already little at the end of career of my father. Everything at the end of his career, he made tables with floral and aquatic landscapes, fabulous lightings, furniture and exceptional decorations, he was really in the firmament of his career, his knowledge and his technique. My father in his debuts had even made the copy of a folding screen of the museum Guimet with another Asian decorator at Midavaine. A magnificent folding screen which had ordered Luis Mariano.

It is necessary to say that Poland is inseparable of John-Paul II, as Germany is it of Saint-Boniface and Algeria of Saint Augustin, or Saint Térèse d' Avila's Spain (which is crossed by Toro moreover).

Few big Jewish artists really enamelled after war, except maybe Marc Chagall and more recently, the singer of Toñas " El Pele " whom I knew on the landing of Andres Francisco Serrita's staircases before it becomes one of 2 or 3 bigger singers of Toñas of the world. In the time, I was a pupil since quite a lot of time, and he was in 10 bigger of the world to be made an order of height.

There was also Raymond Loewy, who worked in the désign for packagings, for NASA, and with whom I have some common points. Simply, we did not evolve in the same domains exactly. I having begun the workshop in 8 years and the factory in 16, having practically helped my father during 25 years, I turned to a work of projeteur, in the IT building at the beginning, then in the mechanics, the railroad, the plumbing, the air conditioning and the CVC, and many other domains still, the piping pharma for example, or more recently the civil engineering. Today I am an account manager air conditioning.

 

The Judaism suffered from a strong cultural rejection during the cold war. On the other hand,

The reaction came from big Jewish intellectuals. I think in particular of Mrs Bouissy, close friend of Edgard Faure and ancient groupie of Arafat, who left us there is not so for a long time finally, who was also one of 2 better historians of France, and with whom I worked all the same 4 years. I think in center left of traditional, even if you should not be made of illusion, the dominant socialism always betrayed him once in the power and in position. 

People as Poincaré, as more recently president Poher, as my father helped in his lifetime when his bodyguards had lost him to the museum Cortot in Montmartre, are people who globally gave me the impression to try to make something to help that I shall call a decomposed Judaism and a pale Catholicism, or the other cults.

It is Mrs Bouissy who had taken us when we were children to see the exhibition on Lucy to the museum of the man, or was mother Térésa when I met her for the first time. It is too who had taken us to the museum of the Arts and popular Traditions.

In the time, this museum was not what it was today, and the domain of the explanations exceeded several billion years light the subject, the material. Today the situation is lesser.

If my father was rather conservative, the center left always struggled in France, it always had a matrix, a general and collective vector, what was not still successful.

b) A profession which disappears.

Let us be serious on the fact that the profession disappears. She disappears not only because of what kabbalistes could call real hostage taking to the Franciscan (do not take me however more anti-franciscan I am, after all pope Jean-Paul II took their defense in one of his last books " Get up! Let us go! "), or because of the concept caciquiste of our democracies, but also because the civilized world disappears at the same time with her.

We are in reality in front of 2 movements compound and followed in the time. Economic fold and loss of a knowledge keep pace.

From the Christian of Anouan to the Jew of the ghetto of Warsaw, to the Muslim of Grozny or moreover, we see him in all the conflicts worldwide: the man is bad, he becomes more and more bad. The inhumanity gains ground more than it loses it.

Except, our job is fragile.

The man is so bad, that he cannot legally aspire any more to the fact than everything is made for his good be. And consequently, the artists of high flight, big calibre, have the right to state their conditions and to refuse the enactments.

The smallest artists, of whom I am, can even refuse purely and simply to follow the movement impulsed by strength that or there. We do not so dream any more nowadays.

The real job disappears, also because of any sorts of menus tyrants and local caciques who live as parasites, on the back of the profession with police forces, the bailiffs, the sex perverts of all kinds. A profession does not generally disappear but that particular reasons do not come to enamel of grave incidents at the same time her development and especially its depth. 

For example, in France, president Mitterrand conspired with his Prime Minister, a Jew, Fabius (of its real name Fabuzzi), so that he signs billions in check to a company as Ikéa so that she continues to plunder quietly the African wood. Meanwhile, and indeed the African really starve, of cold, the game disappears, the ecosystem disappears. The often cruel realities catch up any uncontrolled initiative.

Scandinavians will laud their sexual revolution obviously on the corpses of the African. It is hello Sir I am for you. Some always worked to add fuel to the fire, to favor the anti-Semitism and make sure to be able to him.

Indeed on, the North uses on the back of the South. There is there no possible doubt. There is also a will to terrorize, to frighten.

Indeed on that the Islam will be forward the religion said about domination, the dominant thesis, even if nobody likes the theses backwards. But it is the good thesis

In reality, no profession dies if everything was not made so that it disappears, under the weight of the economic lobbies. Except, everything was made so that our disappears, at every level and in all the scales, including in the political scale.

Nothing is more unbearable for managers to be possible that very carrying corporate associations which make of the shade for their dreams of power and the competition in any supreme truth, join forgery with an economic conception of mass.

There is no massive redistribution of the wealth without plunder. 

Another shape of plunder is the intellectual plunder, which without my testimony would be attributable to Garouste and Jeumont (associated at the time of decorations of the lodging house) without 20 years of devoted and relentless work of my father, without enormous quantity of tables and furniture whom it made for them. Gérard Garouste is a recognized modern painter today, whom Ministers and even the president of the National Assembly visit. Certainly, they defend from praiseworthy cause, associations so that the children can leave for vacancy, but why did not they make anything for this superstar whom was Manuel Diez Matilla? Cannot we see also a total disparity of treatment there?

I have believed never too much that of big modern, of big désigners could appear without a springboard, without a whole base, a whole compost, a support for the innovative ideas. Moreover in the big time of Manuel Diez, Gérard Garouste was only a dark small budding, anonymous and insignificant modern artist, even if my father already encouraged him and bewared of any premature comment.

His désign of a bottle of pastis brought out on the market in 2006 however packed me, as one of his paintings exposed in Beaubourg, with a whole treatment of the red, which is the color which airs longer.

I find on the other hand that it misses that that the balance which my father knew how to bring.

My father will have worked all in all about twenty years for decorations of the Lodging house, and made hundreds of tables and furniture for them.

The worst example of confusion this one economic that I saw is the industrial example, when the power is concentrated between few hands.

For example when little by little the cabinet makers, the carpenters and the joiners of the faubourg Saint-Antoine disappeared, when the cabinetmaking and the studios closed gradually, when Varnish Jacquelin left to Bagnolet, already, the industrial faintness was general. Already, cellulosic lacquers cracked and cracked if we did not add them varnish. Impossible to make a first coat without varnish.

Except, in first coat, it is necessary on especially no varnish, one needs only at the end. Already, it is all the industrial, in particular German chain, that was sabotaged in general.

The chemistry is the lever which allowed to practise the breakage for the benefit of multinationals and of the biggest companies, in defiance of the law and of the interest of craftsmen.

It is clear that at the end of the second world war also, the Iron Curtain separated the concepts, weakened the tendencies, levelled the oppositions of mass.

I knew in my youth one of the last three society women to have passed 5 years to Auschwitz, and during a discussion of half an hour which we had had in the train, she had spoken to me in particular about what the plastic surgeons made in Russia.

She was removed from the highly-rated of Kiev or Tbilisi, or I also left of distant Ukrainian origins.

This conception, that of the Russian plastic surgeons, was more the one of the competition than that of the art, and we very openly widely inherited from it today, for example in cartoons and comic strip. Especially in cartoons with the emergence of the computer graphics. The industries are engaged a tug of war.

The technical drawing, that of the building and the industries, which corresponds to the professional way that I followed, is also the world of the speed and the profitability as the only economic standard, and very too often we forget all the rest, namely the creativity and the imagination, the whim necessary for the company of any big project.

I am drawer air conditioning and plumbing also, enough centred methods building.

I have all the same about twenty years of experience today.

The competition between the artists was at first a means of compromise, break with the decadent western civilization, but the same civilization early made take back the concept of competition in its account. We take ideas there or there is.

For a long time because the humanism was the other current of the revival, he served as border defined with the big pictorial currents of the very revival. To cross this demarcation line, it was to skip into the camp of the subversive or dissatisfied intellectuals about can be their cult, their confession, or their artistic camp.

Already if in the time the only purpose of many of the ancient transported convicts and the ancient transported convicts was to testify, the modern world did not miss to bring to the foreground new powerful media. These, we could already augur it he has there about twenty years began more and more to be able to since the satellite with the modern and polluting means of communication. We chose to dismember the distant space, as only compromised for the humanity. We are far from the cleanliness and from the Copernican neatness.

Ex member of the Workers' Party, stemming from the 4th international, I think that it is necessary at the same time of the level-headedness and the recoil to be able to media in our contemporary societies.

I send back here the reader to two works which seem to me the most significant in the French plan as regards the 4th international: Itinéraires, of Daniel Gluckstein, the General Secretary of the P.T ., and Pierre Lambert (in the editions du Rocher - of the Rock), and Class struggle and globalization, Daniel Gluckstein (in the editions Selio). I think that unlike a Jean-Pierre Bret, of one Y. Taborin (I do not know any more if it is Yvonne or Yvette, I believe that it is Yvette) or the other big communist intellectuals, the classicism of the 4th international is doubtless even more net.

I had made an oral presentation for Monique Olive and Y. Taborin on Was in hiding Amata, and the cave of the Lazaret in 1983 in Paris 1. In 2006, during a mission of temporary work in Nice, I had the opportunity to see the unique aquatic show of Villeneuve-Loubet, Marineland, and to see also the museum of was in hiding Amata in Nice. He also dedicated it another exposure on the site of Dmanissi, géorgia, on erectus people, coming from man to ergaster, baptized georgicus people, and old man of 1 800 000 years.

In fact, the biggest aquatic park of Europe is not far from Benidorm and from Valencia.

The art is different from the communication, it is the support of the beginning of communication, the prerequisite in a more followed question. Its transformation can sometimes look like a shape of prostitution. I speak here about its massive adaptation for such or such category of age and punctual public, as modern times made it moldable and exploited at will.

To tell the truth, to take only our example, who are children of stateless persons and immigrants, in the diverse European origins, Toro is little Spanich Jerusalem, and the home town of my father, in Old Castile, today Castile and Léon. It has it needed of the road since Alonso Berruguete, since Churriguera, Diez Azevedo, Aléman, Grégorio Fernandez, Fernando Gallego, Valdévi and so many others up to my father, Manuel Diez Matilla. The Christianity remains an abstract composition, or the bourgeoisie becomes confused with the people, or the classes are broken in all the exercises, or their limits become blurred over time. And then Toro was also the capital of the laws in Spain during more than 8 centuries, the city has the most ancient arenas of Spain, about sixty churches and convents, prestigious religious places, and any tendencies. Toro is also the site of the battle of Péléagonzalo. My ancestors are of Pellas and Valdefuza. Toro is also a royal capital for the Spanish and Portuguese sovereigns.

The real Christianity is not the exercise of the exclusion, but that of the fusion towards the same supreme and inviolable purpose. We could add them Juan de Juni, Salcillo, the school of the East and so many others else.

A big colourer as Manuel Diez is also born of the rejection of his predecessors, the rejection of the dominant bourgeoisie. Of the refusal.

The big artists often tend to withdraw on them same, to refuse and to repulse the past having admired him, having forged ahead in. The Christian or religious art is made by additions, by complements, by anticipation and by synthesis. Often the artists at the end of their life slide towards a certain denial or certain doubts.

But the history retains of them only a part of their work, no all their work worldwide, not all their commitment.

An artist does not make that testify of his time, he often brings her also something moreover, something that she would not have seen without him. He accentuates certain things, certain sometimes historic events, emphasizes certain parties, finds symbols, for example symbols of the Passover. My father made hundreds of oil paintings in his life. He knew in his job to use the qualities of the lacquer in a optimal way, and to make with her things that he would not have been able to make for the oil and mutually.

Her sister, Angelita, and a good part of my family, worked in particular for a long time and worked even recently up to its death for the baroness Goury du Roslan, who had a distant family tie with Joseph, the brother of Napoleon. His work of laqueur decorator, my father exercised him of Biarritz to Deauville, by way of Tours.

The baroness, or her nephew, saw dedicating the book of the Russian writer Pasdoc de Salkoff " The coachman of the Troika ". Pasdoc of Salkoff speak about its career of singer and about the French song there.

This baroness who left us in April, 2005 was of Danish and American origin, her parents were the one the former ambassador of Denmark in Paris, the other one an American banker, finally his daughter I believe.

Her German family had emigrated in Denmark. She indeed went down Moltke, name of the German marshal who participated in an attempt against Hitler. Anne Frank speaks about him in his newspaper, regretting that this German nobliau did not succeed in his enterprise. In reality Moltke is of Danish origin, he had made a commitment in the German army.

The grandfather of my cousins of Germany, whom we nickname Opa Linie, also participated in an attempt against Hitler, the one who ended in hundreds of executions and beheaded opponents. The major part of my German family was on the roads of the exodus after the rout, the collapse and the advance of the Russian troops, and in number of small transit camps, of which a step far from Stuthoff, near Danzig, current Gdansk, and also that of Marianenfeld near Berlin.

Horst, the elder son of the brothers, died from the typhoid in one of these camps.

The baroness thus died there is little, in 105 years. She went out, was born with century and was dying with him.

Pasdoc of Salkoff, in his book, deals with the French song. He quotes in particular Charles Aznavour there, who has his village hall to Arnouville, and many of the others, Trenet, Brel, Montand, Johnny Halliday. Pasdoc of Salkoff is a ancient Russian airman, as my friend Jean Seigaud, the last French airman must to have taken part in the battle of England, of which the father is one of the main engineers of the Maginot line. I vaguely knew a Breton airman who made 15 war years with De Lattre. Seigaud is a more composed man. He finishes quietly his days at the hospital of Gonesse.

Thrown by the plane on Algeria without parachute, he has of his survival only in his parachute of help and in a tree which paid off its fall, but by drilling him the spleen, he finished in a very grave state until today. His state of general paralysis is still since.

He is a disabled person in 90 %, as my older brother is sick mental in 90 %, schizoid and schizophrenic. Having said that, my older brother, even if he is sick, worked with practically all most great masters of martial arts of the world. He not bad travelled, in Morocco, in the South of the antique hunting, in the Tibet, but less than my mother. My other brother, David, died tragically. The madness of my older brother weighed after all very heavy, even if it is not the only parameter which precipitated its sad end from which I could never recover. It is a real vegetable of egoism.

 Careers today offer no more geographical perspectives so deep for craftsmen, which are a little the singers of the painting and the adventurers of the second half of the XXth century. At first because we took the nasty habit to suffocate craftsmen, so we are jealous of them. A whole commercial folding screen was set up, a whole artificial shop window, a permanent advertising harassment. Without counting the industrial sabotage, the racist, anti-semitic attacks sometimes against the storekeepers and their stores, the racket, the various offences. The profession is not spared, the whole chain either.

Then, everything in summer made to add fuel to the fire and instigate the hatred against craftsmenand " old Europe ", ancient order in a way, the others declaring itself automatically as of excellent modern, what is far from being the case. In fact, the real modernism, the real artistic innovation is by definition of classic nature.

There is no novelty without objective evidence.

 

The "ancient" as we call them discovered Kurt Masur before the businessmen and the finance fall him top and Campanella well before the others, and the Toñas of El Pele and the Jaléos of Chano Lobato well before the others else.

The biggest began by seducing the ancient and mutually. It is the best label of the real difference. It is true for the absurd treated by Carlos Montoya, for Ramon Montoya, for the logic treated by José-Antonio Sabicas, for Serra and his son Serrita and his zambras or still José El Toro, his friend singer.

There is always for a final exam to be crossed. Serra registered with the biggest, El Camaron de la Isla, Paco de Lucia, Escudéro and so many others.

But unlike others those whom we call the ancient worked with them and for them, without counting what they bequeathed to their children. The big innovations are very often classic. It is rare that the modern world does not plagiarize.

What I like for example at Chopin, even if it was an alcoholic, it is that he was not situated inside the big empires of his time. Neither inside the British empire, nor inside that of the Saint Roman Empire Germanic, or the Teutonic knights exterminated the Prussian to convert them to the Catholicism, nor inside that of Charles-Quint, Chopin was a big lyric spirit, one of the first ones to appear outside the system, to upset the standards.

The sharpness, the fluidity of its play, give to its melodies a lyric in the surprising outcomes. Chopin was Copernican in the soul. He knew how to surprise pleasantly and suddenly as Dvorak.

Very often, throughout his career, my father surprised Asian craftsmen and other draftsmen in front of shop windows plagiarizing the decorations of his tables or his furniture.

The real ideas, we are going to look for them above all there or is the quality. The strength is the mainspring which does not appear alone, whom we always eventually copy and may to sabotage.