Fille de ans nu erotica marseille

fille de  ans nu erotica marseille

Dès les premières exactions, la rumeur se répand comme une traînée de poudre dans les petites communes isolées: Sept décennies plus tard, la jeune fille est devenue une petite grand-mère, timide et discrète.

Mais nous savions que les soldats recherchaient les filles. Sa grand-mère lui demande de se cacher sous ses jupes. Je ne sais pas combien de filles ont été "attrapées", mais quand les soldats sont partis, beaucoup avaient des maladies vénériennes.

Certaines sont tombées enceintes, des fiancés ont rejeté leur promise. Il y a même des jeunes femmes qui sont devenues folles et se sont suicidées. Ils ont entouré la maison et, plus tard, ils sont venus chercher les femmes les unes après les autres pour les emmener dehors. Personne ne pouvait bouger, car ils étaient armés. Ces documents, que nous nous sommes procurés, décrivent avec force détails le traitement réservé aux civils et mettent en cause la responsabilité du haut commandement qui avait obtenu de la part des gendarmes, des médecins et des coupables eux-mêmes, la preuve de ces exactions.

Cette histoire fait terriblement écho à celle de Pietro, le vieux paysan de Lenola, et pourtant le mode opératoire de cette agression reste exceptionnel. La seconde avait été violée dans la grange de la ferme. Indiqué dans les comptes rendus, le motif de la clémence est identique dans les deux cas: Vingt-huit soldats pris en flagrant délit seront exécutés sans jugement.

Pour certains, ces décisions de justice sont la preuve que la France a bien condamné ces exactions. Une forme de reconnaissance? Nous avons interrogé le ministère de la Défense, qui nous a fait la réponse suivante: Elio Tisi himself would rather claim a membership with the metaphysical school ofthought, in the sense understood by Giorgio de Chirico, Filippo de Pisis or Carlo Carra in A silent and enigmatic universe, with just the necessary mystery surrounding the act of creation.

In spite of the characteristic simplification of its architecture and the typical impression of emptinessfollowing dawn or nightfall, the truly symbolic atmosphere of unreality common to the work of Giorgio de Chirico and his followers is missing.

The world that we are looking at seems to be ours, but owing to a subtle difference, it is almost impossible to understand. Could that be due to the colours, that are not quite right for this type of semi-realistic approach? Or to the oppressive emptiness surrounding the figures?

Could it be the continuous stillness, that causes time to collapse in an almost cataleptic fashion? Here are no characters in search of one or several authors, no open theatre, no script of which the spectator can become the hero. It could also be defined by the prevalence of drawing over colour, the latter being always clear-cut and organized in large, simple fields. The drawing is confined to the space between the figures and the background and to the obsessional neither brushwork nor line work engendered by the slow, repetitive technique.

Even if the subject and the scenery can easily be identified, they do not refer to any particular place or person in Marseilles.

They have become a concentration, almost a condensation, of a vision that, ignoring detail, goes straight to the essential. One might say that today the image is emptied of its ancestral capacity of bringing reality to life.

It seems that a shift has occurred, that the image, that reality, have drifted towards a world of loss, deterioration and exhaustion of figurative information, that often looks false nowadays because of the over-abundance of detail.

That the absolute image, the icon, is made only of a few brief but decisive notations, that bring sense to a coded script. It is to be noted that the void in question is luminous, being neither time nor space. Speaking of Chardin, Alice Vincent — Villepreux writes: The pictorial space becomes united to space itself, pushing back the limits of the drawing or the canvas, merging without any discontinuity one panel into another, unifying vision beyond the hitches and incidents of representation.

The kind of universe that could easily find an echo in the words of Pascal Quignard: French University Press, Paper, as used by an artist. This consideration applies to any type of paper that can respond to the expressive urgency of the moment. In this respect, if you observe the three diptychs in the exhibition, titled 'Thinking the place', you notice immediately, almost instinctively, how the essential lines of the landscape structurally remind one of the Giotto masterpieces in nearby Assisi, which have also come back to us through the metaphysical readings of Giorgio de Chirico and Carlo Carrà.

The atmosphere has remained unchanged, even though the images have the timbre and formal contrast of a female nude. The uniform perceptual result is due to the extremely diluted acrylic paint which, through a myriad brush strokes, reaches a kind of pixellation of what is depicted. It is a slow process of seduction that seems to retrace the patient steps of the author himself.

Hence the shapes that are delineated in space coexist harmoniously with the geometric shapes that describe their essence, beyond the boundary line, in a time devoid of all humanly conceivable scale.

And the delicate chromatic transition of these scenes bestows to those who contemplate them the quiet and magical scent of a dream. The atmosphere does not change, only the way of evoking it. The distilled perfection of the sign, the careful investigation of a fleshy glazing to be delivered to a palpable body, or the repeated search for a structure to be entrusted to a certain order of composition, are now replaced by impulse, by shock, by the pleasure of surprise that catches the author himself at the very moment of birth of the event, while his hand seems to run ahead of desire for a moment.

In this way Tisi's apparent amazement infects us and leads us immediately into his world. This time the story unfolds in notes, in successive expressions that explore connections of ideas that go beyond the order of timbre or construction with which these notes were compiled.

This informal approach, characterized by rhythmic drips, informs images that are barely sketched, caught in their transformation or locked in the moment of revelation or even kept in a dreamlike context that makes them seem precious and mysterious to our eyes.

The paper absorbs the substance while giving back to us the ghost of a desire or the scent of a certain nostalgia that encourages diving into a past destined for the pure bliss of moments that go beyond their memory.

Beyond the title, everything here will either be appropriated or remain foreign to us, depending on whether we are able to get attuned to the author of these visions. Only then will the 'place', preciously preserved and dispensed with poetic lightness by Elio Tisi, also belong to us forever.

Paris Art Magazine d'art. Dans la peinture gothique la cité est devenue le sujet lui-même: Ambrogio Lorenzetti, Jean Fouquet etc. Ces représentations minimalistes sont intemporelles et non situées. A woman, a man, part of a street, or a square. Two or three colours. A prevailing tone of ochre, in a greyish, acid monochrome. The cool atmosphere of the painting, with a yellowish hue, is the result of a succession of washes, of a careful blending of infinitesimal touches of acrylic paint: The image surges out of the vibration of the pixels, and the reflections captured in the sheet of glass could reinforce the impression that we are looking at a screen, without the presence of unmistakable signs of its pictorial nature, given by the texture of the paper, the frame and the presentation in diptych and triptych form.

Or, to put it differently, how a far-removed pupil of Giotto enjoys turning the world upside-down and becomes infatuated with slowness in order to describe our high-speed era. Could irony be concealed beneath the serenity. Is there still time enough to feel anything? As to strong emotions the basic ones , what it is more like their impact — their cries, their fits, their grimaces — than a body divorced both from time and space and deprived of the use of speech?


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