Manuel Diez Matilla: a forgotten fate

 

 

Psychoanalysis of the work of Manuel Diez Matilla

 

5th part

Revision in Saturday, December 8th, 2012

By Christian Diez Axnick

 

 

 

 

 

 

 

 We saw the detail of the solar tank of the same carpet. Below Pantocrator, other detail of the carpet.
Pantocrator, it is a Jesus Christ, not to confuse with the demiurge but it comes to the same thing.

 

 

Below seated Christ of my father. The picture is not of very good quality.

 

 

 

 

 

 

 

 

 I would want to specify a fact, it is that I thus went to Primi to Barcelona one year before the olimpic games.

In fact, I wanted to go to Toro, or to see the rest of my family to Alicante.

But I preferred to answer the invitation of Primi (my priest of baptism). Moreover,
I did well, because he died since.

Catalonia, as all the regions of Spain, possesses its own nationalist clans, and even a
well anchored and old, formidable nationalism besides. In the time Terra Llure
made an attempt which cost a leg to a civil guardia.

I am sometimes offended by the rivalities, for example in the football, but not
only, between Catalonia, Barcelona, and Castile, Madrid. It is
very heavy in Spain, even if people are always brotherly between them. All live
on the same landing, or wash their linen sets.

But later, it's quite a different story, certain Catalans are " muy la Cata ", and make sink Spain into the most racist,

the most arrogant and the hardest nationalism, while the problems for example with the Basque Country are
already terrible.

" Vosotros nada! ", said my father. And he had his reasons. Otherwise, the Spanish nation is relatively welded, but these divisions,

these squabbles between regions sometimes fill the atmosphere. It is highly-rated dark of the strength. El lado oscuro of the fuerza.

 

 

  On the other hand, it is not false that sometimes Catalonia pulls rather Spain upward, but it is not
necessarily completely true either. It is rather the case however if we take the example of champions as Carlos Moya.

My father did not want I go in Catalonia, but I wanted all the same to know a little better Spain.

 It is a very beautiful region. But Micaela sometimes criticized herself those who are " muy la Cata ".

And then people are full of ideas, but which so after all.

 

 

 

 

 

 

 I I especially lived in France, and little in Spain. I shall like returning to it, but I do not really
have time nor the means. My father dedicated all his life to the painting, and was not interested in much of other one in life.

Yes, his friends, his employees or his customers. After the lock of the workshop he continued to paint.

My older brother still paints little, me not too much.

 I shall more like dedicating myself to the painting, and I plan to restart in the direction of this muse, but it is true
that I am lacking time and of means, courage and will also. Having said that, I plan to paint again for the reasonable deadline.

 I plan to regain control and to approach the future with new compositions.

 You should not leave with the idea of a very pro-Giscard Manuel Diez, even pro-Franco, what was here not at all the case.
Safe for Giscard an ardent supporter of which he was for a long time. Moreover his uncle was an elected representative of Toro,

because he was republican mayor of the city after the victory of 36, before being murdered during the civil war.

My father had certainly ideas rather to the right, but only his job and his customers captivated him.

It is rather necessary to understand that France became little by little a country very hostile to the immigrants.

The rise of the caviar left preceded that of the extreme right. Brussels condemned France regarding human rights,

and for very heavy fines. To be immigrated in France is not an easy one. There are probably not 30 000 murders committed every year as in the United States,

but there is a hostility very marked against the immigrants, recurring with the endless speech held by the National Front.

 My father came in France to work. It is necessary to make, in, French become aware that the country outlawed gradually.
The speech of hatred which is kept against the immigrants, the Jews, the blacks, Arabic, is constantly fed.

The highest European authorities condemned France. In other countries of the European Union, no speech of this nature is kept
against the migrant workers. It would be a scandal.

  It is necessary to know how to give a warning. Myself who am French, I'm fed up also of these missions of interim of
a few weeks which never result in anything. It is also necessary to know how to put back French to their place.

They already enjoied for a long time by-passing the law, the international conventions, the labor law in particular.

Such an evolution cannot continue. It is necessary to break with the xenophobic theses before it is too late,

and no before the country becomes a furnace. It misses that a real awareness of the danger which represents the ascent of the
xenophobic theses. It will seriously be necessary to think of restarting on good rails.

 

 Manuel Diez was a fighter. He fought against CHarpentier, against Claude Estier. He was in his right, I
have to call remind it. Moreover I said it, the European Court of Human Rights condemned France for very severe fines.

French have to have present in mind which they will have to pay if they persist in persevering in this way.

And it will not probably be enough moreover. It is not possible to make all that we want to make that to pay afterward.

I would want that French regain self-control, and abandon the dogmae overtaken by the hatred of other one.

It's time to return to a more united and fairer society there.

 

 

 

 

 

 

 

 Manuel Diez Matilla: a forgotten fate

 

 

Psychoanalysis of the work of Manuel Diez Matilla

 

6th part

Revision in Saturday, December 8th, 2012

By Christian Diez Axnick

 

 

 

 

 

 

 

 

Below a Round Table ivory made not my father, of a big decorative wealth.

 

 

Below two paintings of my grandmother, in the green and blue cold tones, which
testify of her long and painful disease: the alzheimer.













Let us compare again with a detail of the carpet of the creation, mother, snake, and child.

The painting of my father is also prophetic, and approaches, places the long decay,
the disorder and the mental confusion of abuela.

The snake gets overcomes little by little the mother.

 

 

 

 

 

 

 

 

 Among hundreds of paintingsrealized by my father, we can retain the series of two or three paintings which
he had realized every time on different themes. As well the pastoral theme of the hunter of goldfinches,  or still that of the man praying in front of a crucifix.

He had been inspired by the Figaro and by the photo after the disaster of Fréjus. Or still those of my grandmother, seriously affected to alzheimer.

With blue and green tones evoking the disease and the terrible mental decay which she entails.

 

My father when he approached a theme, returned sometimes above. On arrival we keep
sometimes only certain photos of certain paintings which have eventually lands god knows who.


He did the same from the point of view of the composition. For example when he left on neutrals to work funds,

then came to greens for trees, and to whole color palette there.

Chestnuts, ochre, grey, point of red to make blue the extremities. His knowledge of the ranges,
the ease with which he managed to slide thousands of colors, to innovate in the choice of colors, stays something rather stunning

 

 

 He did not grow tired of working with brushes, of coming and of returning, of scratching as one said in the jargon of the
house painters. It is a little the same thing for tables or furniture, we put in reality little paint on the brush,

we go and we return, slowly, all in good time.

 He also realized portraits of my mother, friends, other persons of the family. I soaked very early in this particular
atmosphere. I had an exceptionally gifted dad, and I reacted as a kid to whom we open the doors of the secret and the world.

 I was astounded, privileged is the exact term.

 Unfortunately, my two brothers did not share my taste and my passion for the work which it made, at
least not as much as me. However, I did not really make my proof more than they, and I am willing to make amends,

because I have never too much had time to paint, finally ever enormously. The problem is rather than the other
passions of my two brothers got the upper hand over the painting. But I was not either particularly hard-working,

contrary to my father who was a working animal. But I liked very much working with him on the workshop.

On the other hand, I assimilated his technique, a large part of its knowledge. I liked very much watching at him working, I was stunned.

And nevertheless, it is so ridiculous if we base ourselves on the art history, on the market of the art.
He was a painter so much ignored not to say partially rejected by the society, even if he knew his hours of glory.

 On what I saw him making, concerning certain tables, certain furniture, certain floral, natural or aquatic decorations,

I have to say that I dedicated him an admiration without border, me which rest it is necessary to say it a rather ordinary,

even mediocre individual, but I do not want to darken either too much the board as for me.

I helped him to the workshop also during good about fifteen years. I started the workshop  in 8 years and the factory in 16,

afterward I became respectable, I continued the school, but at the bottom we do not teach it much of other than the hatred

and the contempt of the differences.

It is a place who we take up people some against the others easily, the place of all the manipulations also.

To the workshop, we do not lie, we know the quality of every person and its capacities.

Everything is estimated in a workshop.

It is true that sometimes, my father treated me a little as a germ, but I neither was
specially resourceful or manual either, nor too much endowed.

On the other hand, I made the Greek, I spent the blending, I made gilts and many other things.

I have to say it by respect for the public, his disappearance had plunged me into the confusion, I did not understand any more who I was.

We cannot go alongside to such a monument without leaving it anything which will belong for ever to the
story. He died in the injustice, at the height of the devastation caused by the AIDS, in a world delivered to him even.

He left his imprint, his magic leg, and it left joining somewhere his, those who are one of us somewhere also, because
our people knew his hours of suffering also. He leaves a big space behind him, who was not filled until now.

 

 

 

 

 

 

 

 Manuel Diez Matilla: a forgotten fate

 

 

Psychoanalysis of the work of Manuel Diez Matilla

 

7th part

Revision in Sunday, August 18th, 2013

By Christian Diez Axnick

 

 

 

 

“ No te hagas el perrin (Does not make the puppy) ”, he said. 

 

 

 

 

 Below a Round Table ivory made by my father, of a big decorative wealth.

 

 

 

 

 

 Other picture of 4 doors before of a piece of furniture of my father. Below a photo with Christmas.

 

 

 

 

 Family photo, with pupuce ( mohli ) and Viking.

 

 

 

 From left to right: Micaela, Carmen ( carmenchu ) below, Prudencio with Maria Congost, to the right Don
Primitivo. I do not remember any more the other person in the center, Luisa whom believe.

 

Below painter's meeting in Spain.

 

 

 

 

 

 Below, one of my works of modern composition. He asked me for a crowd of studies of conception and for a
pushed arrangement of the harmony of colors. The face complies and deforms, contorts.

The nose joins an ear in the shape of breast. I borrowed certain ideas from Pruden.

 

 

 

 

 

 

 

 As I painted little, I try hard to work the conception, and I work on modern works we are going to say, because I am a
draftsman designer. But for lack of time, I a little lost the thread of the painting.

 

 

 

 

 

 

 

 My father always lavished me of very good practical councils, and I followed them of my best.

But after his disappearance, little by little, the reflexes diminished. I did not
soak any more in the atmosphere of its painting workshop, in the smells of the
turpentine and the oil painting.

He had a funny character, a tempered character, a sacred conception of his job. It
was a maniac of the composition, the perfection, of all that we can imagine in painting.

Which strength, which power of character and will to make well and of perfection he released.

 

 I more and more turned after his death to the CAD-CAD, the computing, I made quite a lot of plans EXE for
example, on AUTOCAD. Leaving from there my professional life was absorbed by the world of engineering consulting

firms over the years. More and more towards technique, the civil engineering, the CVC, the HVAC, the plumbing and so on.

In fact, I did a service in France, but my artistic career found itself unsettled.

A few years ago, journalists presented Gérard Garouste to the television, which
is the biggest French modern painter. I also like him, it is a fact, because my
father worked during the main part of all his career with Garouste and Jeumont,
the managers of the décor du logis, street of the Faubourg Saint-Antoine, finally
formerly.

Today, thirty glorious are ended, over. But which period it was. He had I believe up to 10
employees under his orders. I was going to deliver with him being a young
street of the Faubourg Saint-Antoine, with its famous Fiat 238, the small van
which has never left him. When I asked for it removal, because she was old and
in the state of carcass, wreck, he has never forgiven it me afterward.

 

 

 

 

 

 We had badly understood this day there. I had suggested to him to ask for the removal with the Opel of my
aunt Angelita and he had answered me that yes, but finally they had removed only the small van, and not the car.

He produced all the same in 20 or 30 years sublime and unforgettable hundreds of
pieces of furniture, tables, and so worked of the highly-rated thus of the
Faubourg Saint-Antoine, with the cabinet makers also, during all the middle of
his life. He had other customers in Biarritz and in Tours. To Deauville as
well, the same as those of Tours. Which reign he had, that of a pictorial domination
without division.

 Today, to say everything toyou, I live an a little bit monotonous and a little bit mediocre life also, his
genius is not any more there, his insurance, its hand either, then from time to
time I a little let go myself in the routine, in my lost memories, and I think
at the hours of glory almost by crying.

So many others are also disappeared in my family after him, familiar figures, to
begin my brother David, then of the highly-rated of my father, Vénancio his
older brother, then Vicente (Petente as we nicknamed him; Méré, his wife,
visited us a few years ago with her niece Ouria, she lives to Toro). My two
uncles are thus so dead after David. Then my aunt of Germany, Edith, is also
disappeared, it does not stay more than Marita and Gerda, Helga
died before my father, after the disappearance of Hulda, my grandmother, who
followed my grandfather I believe.

 Mere ( Emerenciana) invited us to Toro. She possesses an apartment there low. Angelito held a cybercafe in the exit of Toro.

Javi, him, lives to Guardamar del Segura, with his wife Loli, his son Noël which had
visited us with his aunt Méré, and a girl also came, Victoria. The major part
of my family of Spain rests in the cemetery of Toro, in the family vault.
Vicente has a grave to part.

I began paintings but I do not manage to finish them for lack of time and of
means. Marisa her, the wife of Bernardo, my cousin, one of the sons of
Vénancio, dashed into icons for a long time.

 

 

 

 

 

 

 Photo of us three any youngs, in front of "andas". David to the left in yellow shirt and
Ingo in the center in lined shirt.

 Somewhere, it is necessary to say it, the deficit of democracy in this country opened the way to the totalitarianism.
When the conservative ranks are not in front of, run-ups of restoration are daylight little by little.

The big period of Manuel Diez has nothing to do with this new fundamentalism, this new intellectual sectarianism.

On the contrary, it is a period of pioneers, a real epic for the small business sector. The
artist is emancipated, he lives a life we said it bookish and close to the time
and to the fashions, he puts a lot. But already, we press dangerously the
lemon. Already, we over-exploit the goodwill, we make thinner
the purchasing power of the talented entrepreneurs, the workers who follow them
in the adventure.

We see it in this picture, our products were not any more adapted to the new time of the laser-disc, which affixed somewhere its
signature at the end of this big period (hi-fi systems, VIDEO, 33 tr records, bookcases).





Still life of my father. The line, the drawing (el trazo, el dibujo), the cleanliness and the variety of the nuances, the tones
and the colors, characterize its works, the composition also. It is a composition of arrangement, measure and volume.

 " El trazo es muy importante, la cantidad of pintura es muy importante ", he said.

 

 

 

 

 

 

 

 

 

 

 

 My father and I at the beginning of the 70s. He had to stop smoking from day to day. I am stopping
little by little. I do not discourage to reach there, I take nicopass. I strongly restricted

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 Manuel Diez Matilla: a forgotten fate

 

 

Psychoanalysis of the work of Manuel Diez
Matilla

 

8th part

Revision in Sunday, August 18th, 2013

By Christian Diez Axnick

 

 Above an old memory, our house at the beginning of the 60s.

Below our poster in the big period. 

 

 

I have to say it, when my aunt had come from Spain with her niece, it had a little
given to me the homesickness. Spanish is a language so poetic, so melodious, in
the prose so imaginative and surprising. I like this tongue, which sings less
that Italian, but allows so many subtleties and sharpness in a discussion.

Spanish is the language of the pleasant and the refinement, the typically Spanish humor.

The phlegmatic humor of this tongue, calms down, plain of joke, is for me something of which I cannot take place.

 

France is a country globally richer than Spain,inclusive Catalonia. Only in Ile-de-France, every region possesses practically
at least hundred castles with parks and gardens. That of Chamarande, in the Essonne, has a gigantic, breathtaking park.

National archives are there, as to Pierrefitte (I worked on it at BETOM for the air conditioning). More than 20 000 workers died
on the other hand during the construction of the Palace of Versailles, in particular because of swamps and of malaria.

A whole world collapsed with Manuel Diez's death, that also last illusions of an a little more just, a little less sectarian world. It was
really a big genius, today his paintings went almost everywhere, the family, the friends, some food sales.

I do not want to be square, but I find that painters of his dimension and its
stature are lacking already in our time unstitched, who we try to launch some modern artists so-so.

I glimpsed the exhibition on the Swiss painter Paul Klee for example, or rather overflew.
Gérard Garouste was on television several times, being considered as the
biggest contemporary French painter. But I do not find the concern of the
detail and the intrusive passion of the perfection who possessed my father, the
hand which he had. A documentary was dedicated to Garouste who also painted in earth-saint.

 He and Jeumont are charming people, with whom my father worked all the same about twenty years and for whom he realized
hundreds of tables and furniture. But to go to the front difficulties, I would say that the world of the art stagnates today, not to say that it finds itself
in the impasse who we were kind enough to throw him.

Parts were inequitably distributed since the beginning. I mean there that we shall
not redo any more an artist as my father. And then, France is a jealous country
of its privileges, exploiter. It is there harder and harder to work, to find
the inspiration there which is our fiber to all.

 

 This inspiration, it sometimes came to miss him, but it always eventually resurfaced unexpectedly. My father
worked with all the head. It was an intelligent, very cunning and very resourceful painter.

He had this innate sense of the painting, this voracious passion, this faculty to solve the biggest difficulties, these exceptional bright
flashes of lightning. He had the class and the talent gathered.

All his life took place and scrolled the paintings which he composed

 Honestly, I have nothing of that kind, qualities which he had, even if I took many notes of what he explained me and
learnt me. He supported me always, always always managed, taught his thousand one tricks and other small things.

His talent was insane. I was amazed by what I saw, amazed, he was bluffing, often completely amazing.

When I think of him, I have the impression to be a dwarf in esteemed by him.

Somewhere, I am almost ashamed of me, but I saw revised the wonderful moments when we sometimes spent,
I see again in dream the tireless worker that it was. I always followed him as I was able to, of my best.

 Yes, he could sometimes have a little of contempt for such or such, or not like such or such other one, look
up and measure the biggest, such a genius could him allow itself. That's saying something.

 I saw at work him during years. He crushed me as vulgar one louse of all his class.

I would almost dare to say that I looked like an idiot in front of such a monster of the painting,

so much for the oil, as for the cellulosic, the watercolor or the pastel.

My foundations were exploded by so much control and know-how.

 I found myself little in an a little bit solo parallel career, so much I did not make the weight.

 About some appreciated my work, him even sometimes.

He lavished me all his encouragements, he helped me a lot.

 Stemming from a prosaic world on the point to disappear, an exceptional world which we shall not find
any more, Manuel Diez was also somewhere the product of this world, one of his last representatives.

We have a common point, it is that he set notes in the pencil in his workshop a lot
which left place today with an extension of the house. I too on my workplace,
generally take notes. Can these few lines help, councillor and inspire the
talents to come, the young people who arrive.

I remember a delivery to Deauville. He had absolutely wanted that Katia Granof
dedicates her book " of Spain " in Honfleur. He dedicated a real passion to the contemporary writers.

He liked very much reading. He liked very much Jean D'Ormesson for example, or Michèle Morgan as I said it somewhere else
in my studies. She also has a gallery in Paris, on the Champs-Elysées Ibelieve.

I passed by Honfleur with Hanifia after a stay to Fécamp. Her gallery always
exists. Good artists always expose in Honfleur. The walk throughout galleries
is soft and pleasant. Honfleur is a small marvel leaned in the sea, and count
even a small beach. The lights of Fécamp are very attractive at night
also.

On the photo which follows, previous in the time, we see him to Jasper, the dog which
he probably most liked. He came with us too to Deauville, as Viking, the German
shepherd, we had several of this name there. Jasper had bitten Guy, of the décor
du logis, when he had come. He was not an easy one. But he was very
affectionate with my father.

We perceive the old table of the workshop, on which he so much worked, and the bric-a-brac
at the bottom.


On this photo, David is lower left, and I sat on my lengthened father.

 

 

13.10.2013

 

 

PRESENTATION

 

Ce blog comprend :

 

-  2 textes autobiographiques du peintre et laqueur décorateur manuel Diez Matilla ( 1926-1991 ),

consacrés en partie au calvaire de Jésus, à l’incendie de l’église Santa Catalina de Toro,

ainsi qu’au décès de son père et de son frère aîné, plus quelques textes et écrits philosophiques.

 

-  Un manuel d’introduction au métier de peintre laqueur décorateur rédigé en 4 parties

 

-  11 études psychologiques et historiques, qui retracent et décrivent le parcours de l’artiste

 

-   D’autres documents ( poèmes, documents professionnels autorisés … )

 

Cet opus est disponible en 4 langues, français, allemand, espagnol et anglais.

Les 10ème et 11ème études en français sont logiquement les plus récentes.

 

 

Bonne visite.

 

Christian Diez.

 

 

PRESENTACION

 

Este blog contiene :

 

-   2 textos autobiograficos del pintor y lacor decorador manuel Diez Matilla( 1926-1991 ),

consagrados en parte al calvario de Jésus, al incendio de la iglésia Santa Catalina de Toro,

asi que al fallecimiento de su padre y de su hermano mayor, mas algunos textos y escritos filosoficos.

 

-  Un manual de introduccion al oficio de lacor decorador redigido en 4 partes

 

-  11 estudios psicoanaliticos y historicos, que retrazan y describen el parcurso del artista

 

-  Otros documentos ( poemas, documentos profesionales autorizados … )

 

Este Opus esta disponible en 4 idiomas, frances, aléman, español y ingles.

Los estudios 10 y 11 en frances son logicamente los mas recientes.

 

 

Buena Visita.

 

Christian Diez.