Saints and lovers: myths of the avant-garde in Michel Georges-Michel's Les Montparnos

This article examines Michel Georges-Michel’s 1924 novel Les Montparnos as a study of the myths circulating around the Montparnasse avant-garde of the 1920s, and their function in relation to art. Key amongst these myths is the idea of art as a religion, according to which avant-garde artists are conceived as secular saints and martyrs. While this notion of artist as saint is strongly present in early-twentieth-century biographies of Van Gogh, Georges-Michel explicitly relates his fictionalized version of Modigliani’s life not to such recent models but rather to the Renaissance masters, and especially to Raphael, a link which is explained in terms of the post-war ‘retour à l’ordre’ in French artistic culture. The novel’s references to Raphael as archetypal painter-lover are also related to its construction of a myth of the artist as virile and sexually prolific, and to its identification of creative and sexual impulses

Henry Miller-Blaise Cendrars Correspondance 1934-1959 : "Je travaille à pic pour descendre en profondeur"

Correspondance de deux géants de la littérature, entre Paris et le Californie… COUVERTURE PDF

Entretiens avec Blaise Cendrars : sous le signe du départ

SITE RTS : https://www.rts.ch/archives/dossiers/4805494-blaise-cendrars-au-firmament.html SITE CEBC : www.constellation-cendrars.c

Cultura de massas e representações femininas na paulicéia dos anos 20

Era muito claro que as mulheres estavam reelaborando seus papéis dentro da sociedade moderna. As revistas de fãs, o cinema e a publicidade apresentavam repetidamente artigos e imagens sobre jovens mulheres e as identificavam com a juventude e a modernidade em si. Este artigo analisa como a cultura de massas, especialmente o cinema, apelava para a construção dessa imagem feminina como corolário da modernidade pois ela se opunha frontalmente às mulheres do lar provinciano, arcaico, e representava antes de tudo a mulher moderna, que trabalha fora e que participa ativamente da vida pública.<br>It was clear that women were reelaboration their roles out in the modern society. The magazines, the movies and the publicity introduzed repeatedly articles and images about young women, identifying them with youth and modernity. This article analyses how the mass culture, specially the movies appeals to this female image like corollary of modernity, that opposes directly to the provincial and archaic housewifes, representing before anything else the moderm women who has a job and takes part in the political life

Portraits of the garçonne as artist: gender and creativity in French fiction of the années folles

This article examines a series of popular and middlebrow works of fiction from the 1920s which represent the garçonne (the flapper, or androgynous, emancipated young woman) as artist. Challenging the popular view of the années folles as a period of relatively relaxed social conventions and gender norms, it shows that far from embracing female creativity, the authors of the period took pains to link it to moral and aesthetic deviance. Having considered what the representation of female creativity in novels by Berthe Bernage, Victor Margueritte and Marcel Prévost can tell us about gender in the 1920s, I go on to examine novels by the art critics André Warnod and François Fosca, who use the figure of the garçonne as artist to air art-critical positions about the modernist art produced in Montparnasse, especially by members of the École de Paris. Whereas Warnod represents his female artist as a victim of a modernism linked with the foreign and the ‘primitive’, in Fosca’s novel the female painter is a more threatening figure: an agent of a modernism whose attacks on the female body (in the form of the conventional academic nude) are in turn echoed in a broader ‘troubling’ of gendered and aesthetic categories