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Visualizzazione post con etichetta france. Mostra tutti i post
Roger & Gallet 1924 "Le Jade" Parrot parfume
Perfume bottles -coveted by scent users and glass collectors since ancient Egypt - became a collectible available to most everyone in the 20th century. The change occurred in 1907 when Francois Coty, the Paris perfume producer, persuaded his friend Rene Lalique, the designer, to devise a decorative bottle in which Coty's perfumes would be sold.
Until Coty and Lalique changed the course of the perfume business, bottles were purchased separately and refilled as needed. Coty's innovative approach to packaging transformed these scent containers into disposables and made virtually obsolete the tiny funnels women once used to refill their perfume bottles. The appeal of these glass containers also gave the fragrance industry more to sell than scent.
Lalique's first designs for Coty were squared columnar vessels, as spare as chemists' laboratory containers in form, to which he added some less familiar molded-glass embellishments - nude women and flowers. Over the next 35 years until his death in 1945, Lalique produced hundreds of such designs in a stunning variety of forms and decorations - perfume bottles that other designers frequently imitated but could rarely match in imagination and sophistication. Once Lalique began working in glass, designing for Coty, he conceived bottles for many of his competitors - Worth, Lucien LeLong, Roger et Gallet, Guerlain, Molinard and D'Orsay. He also designed perfume bottles for those women who preferred to buy empty vessels and refill them as needed, bottles that were sold worldwide along with his vases, clocks, lamps and decorative sculptures.
Lalique borrowed freely from historical examples, usually improving on the work he adapted. The jade-like glass bottle he designed in 1924 for ''Le Jade'' by Roger et Gallet is a glorious imitation of a 19th-century Chinese snuff bottle.
Read the whole article here: NYtimes.com
Roger & Gallet 1924 Le Jade
René Lalique "Le Jade" perfume bottle.
"Le Jade" perfume bottle for Roger et Gallet, in jade green glass with gray patina.
"Le Jade" by Roger & Gallet. Paper graphics R. Lalique.
Flacon based on a model created by R. Lalique for the R & G perfume "Persana".
Parrots inside French Magazine
La Vie Parisienne Magazine Cover - May 6, 1922
La Vie Parisienne Magazine Cover - April 16, 1921
La Vie Parisienne Magazine Plate, ''Fleurs et plumes'', 1922
Artist: Chéri Hérouard
La Vie Parisienne Magazine Plate, 1921
Artist: Henry Gerbault
La Vie Parisienne Magazine Plate, "Le Message de L'Oncle Sam", 1918
Artist: Henry Gerbault
La Vie Parisienne Magazine Plate, "La Volière Parisienne", 1918
Artist: Miarko
La Vie Parisienne Magazine Plate, "Les Perroquets" 1913
Artist: Jacques Nam
La Vie Parisienne Magazine Plate, ''Tout le monde soldat'', 1916
Artist: Georges Léonnec
La Vie Parisienne Magazine Plate, ''Le remplacant'', 1916
Artist: Edouard Touraine
La Vie Parisienne was a magazine in France founded in 1863 and popular at the turn-of-the-twentieth century. It was originally intended as a guide to upper class and artistic life in Paris , but it soon evolved into a mildly risqué erotic publication.
La Vie Parisienne was hugely successful because it combined a new mix of subjects - short stories, veiled gossip and fashion banter, also comments about subjects from love and the arts to the stock exchange - with beautiful cartoons and illustrations by leading artists of the age. Alongside this La Vie also reflected the changing interests and values of the turn of the century population such as fashion and frivolity.
The artwork of La Vie Parisienne reflected the stylization of Art Deco illustration, mirroring the aesthetic of the age as well as the values, and this coupled with the intellectualism, wit and satire of its written contributions was a combination that proved irresistible to the French public.
Image source: http://www.advertisingarchives.co.uk/
Le Rire Magazine Cover, 1907
Artist: F. Bac
"Le Rire", meaning "to laugh," was the most successful of all the "Journal Humoristique," published in France during the "Belle Epoque" (The last years of the 19th century). Published as an illustrated satirical weekly, from October 1894 to well into the 1950's. It was founded in Paris by Felix Juven in 1894. At the time corruption and incompetence ran rampant in the politics of the French government. There was anti-republican unrest directed on the infamous Dreyfus affair. It was also the gay nineties, a time of crowded cabarets and cafes flowing with the likes of Yvette Guibert and Polaire, to entertain the restless generation of the new found industrial age. A perfect time to poke fun at the political and social issues of the day.
It was the superb full colour drawings of the front and back covers and the centre spread, which made "Le Rire" outstanding. Printed as a small newspaper, black and white text and advertising appears on the reverse of each colour drawing. The great artists that flourished in Paris at the time were lined up to display their talents in "Le Rire" to an anxious public. It's most famous and important contributor was Toulouse-Lautrec.
Image source: http://www.advertisingarchives.co.uk/
Gustave Flaubert - A simple soul comic
Auteur : Gustave Flaubert
Artist: Olivier Desvaux
Editeur : Petit A Petit
Collection : Contes Et Poemes En Bandes Dessinees
Date de parution : 03/05/2007
EAN13 : 9782849490921
Genre : BANDES DESSINEES ADULTES / COMICS
Langue : français
Format : 216x152
link: "A Simple Soul" Comic on Petit a Petit Website
Gustave Flaubert - A simple soul
A Simple Heart, also called Un cœur simple or Le perroquet in French, is a story about a servant girl named Felicité. Flaubert’s tale recounts the series of deaths and departures that compose her life. Her father dies, then her mother, and the sisters are dispersed. She is beaten by a farmer who let her keep cows in his fields. Her fiancé is harsh and deceitful and leaves her heartbroken. She begins life again as a servant for Madame Aubain and her two children - Virginia and Paul - who she serves for half a century with the swollen devotion of a medieval nun. But one by one they all leave her – Madame Aubain, the children, her long-lost nephew, an old man living in a pigsty with a cancer as big as a pumpkin on his arm - they all forget her or die, even Loulou her beloved parrot. But Loulou, Félicité has stuffed. Jauntily posed with one foot in the air and a gilded nut in his beak, Loulou swells into more than just a stuffed shell of the bird that used to squawk out “Pretty boy! Your servant, sir! I salute you, Marie!" At worse, Loulou is transfigured into the king of trinkets, at best, into the holy spirit.
And when no one was left in her life but Loulou, Félicité took to saying her daily prayers kneeling in front of Loulou. When the glint of the sun fell through the window on Loulou’s glass eye, it seemed to ignite a spark that sent the simple woman into ecstatic reveries. At this point, Loulou was really no more than a mass of feathers with a broken wing and batting sprouting from holes eaten by worms. But none of that mattered to Félicité: she was now deaf, blind, and all but mute. As she finally passed from this world to the next, Félicité thought she saw a gigantic parrot hovering in the opening heavens above her.
And when no one was left in her life but Loulou, Félicité took to saying her daily prayers kneeling in front of Loulou. When the glint of the sun fell through the window on Loulou’s glass eye, it seemed to ignite a spark that sent the simple woman into ecstatic reveries. At this point, Loulou was really no more than a mass of feathers with a broken wing and batting sprouting from holes eaten by worms. But none of that mattered to Félicité: she was now deaf, blind, and all but mute. As she finally passed from this world to the next, Félicité thought she saw a gigantic parrot hovering in the opening heavens above her.
link: Read "A Simple Soul" on Project Gutenberg
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When Gustave Flaubert was writing Un simple coeur, he rented a stuffed parrot from the Museum of Rouen. The bird was bright green with a blue head and scarlet wings, and it sat on Flaubert’s desk for three weeks as a muse for a story which describes the apotheosis of a stuffed parrot named Loulou.
When Gustave Flaubert was writing Un simple coeur, he rented a stuffed parrot from the Museum of Rouen. The bird was bright green with a blue head and scarlet wings, and it sat on Flaubert’s desk for three weeks as a muse for a story which describes the apotheosis of a stuffed parrot named Loulou.
Unlike Felicite, however, Flaubert was hardly overwhelmed with the sanctified aura of the bird on his desk. After three weeks, the author had finally had enough of the parrot. Something about it irritated him - perhaps the impertinent cock of its head, perhaps the supercilious twinkle in its glass eye - and just like that the affair was over.
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