tag:blogger.com,1999:blog-135400832026-05-28T07:46:18.333+08:00One is straight away struck by a paucity of words availed to expound this chanced-upon poiesis born in the crevasses of cultural hybridity and nourished in no man's lands of ascetic transmutation. (This site is authored and maintained by Troy Harris, troydeanharris@gmail.com | troy-material.blogspot.com)venerable sritantrahttp://www.blogger.com/profile/10963299120467501469noreply@blogger.comBlogger73125tag:blogger.com,1999:blog-13540083.post-81577632886839458662014-04-29T17:06:00.007+08:002025-11-15T22:57:25.353+08:00

Rene Laubies, Untitled, 1959, mixed media on paper; signed and dated lower right, 38x35cm How is one to crack its liminal appeal? We offer a clue. Postulate a preexisting Cloudist dicta to see what can be mined to elucidate its subject in a way that eludes all convoluted reading of the stain of sliding cloud and sea...

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Cloudist methodology may tersely be defined as a natural, reflexive calligraphic tendency of literati colour field non-figuration whose outcomes exemplify not the expression of the individual or its cult, but the advancement of ascetic arts ontology.

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Laubies, ca 1995, Paris Welcome to our ongoing research project, an abstract thesis not on or about, but very close to the life and work of painter, translator, writer Rene Laubies. We elucidate his legacy by drawing attention to the Euro-decentering cultural hybridity innate to his commonplace ascetic-arts procedure.  Rene Laubies is best represented by Galerie

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A painter who claims to paint what he wants is mistaken. The painting is imposed on us, changes its course, goes left and right, and then suddenly stops. It knows when to stop. Ageing painters lay it on more and more. Heavy toil does not restore grace. Chinese painters of the classical period knew when to stop. They accentuated accidents detected in nature. A poetic and musical work of art owes

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"Early Spring" (1072) by Guo Xi (c. 1020–90)GUO XI, the distant eleventh-century cultural figure, wafts as a buoyant toponym on the mirage-like horizon of Laubiesian Studies. How disposed should we be about this ominous placement: the transference of securities to a tiny group of investors? Spelt also typically "Kuo Hsi," "Khuo-Chi," et cetera, Guo Xi (郭熙 / Japanese Kaku Ki), as legend has

venerable sritantrahttp://www.blogger.com/profile/10963299120467501469noreply@blogger.com0tag:blogger.com,1999:blog-13540083.post-27785926256459661282013-09-19T21:00:00.000+08:002018-10-15T09:36:04.325+08:00

Colonial French painter Rene Laubies (ca. 1960)

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The conservators in France are like all the French, they detest the painting and the painters that live. Deaths reassure them, but be on guard because the "second death" of official artists may prove definitive and these conservators will in the final analysis pass for idiots, which is in fact their secret terror. The zeal of these petty functionaries of art makes me laugh. They are as quickly

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His flair is inexplicable; if not for that, it would be too easy and everyone would have some! When seeing a painting for the first time Facchetti senses what is new in it, what is personal, while the others all look at what can sell, what it resembles. In the film that was recently dedicated to him, one sees Facchetti walking in his gallery. It's his garden: Sima, Pollock, Hundertwasser,

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Rene Laubies The naturalist non-figurative abstract impressions of Rene Laubies, spiritual tête of "nuagisme," vague appellation engendered by his critics ignoring much his exteriorized plasmas wind-blown ash over arid terrains anonymous transparencies loosened stain on torrid earthen walls The light of quiescent colour, his tableaux, shade without tension toneless shade, texturous

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Nuagisme (literally "cloudism") is a French art-historical-critical term advanced in the mid-1950s by art critic Julien Alvard (1916-1974). It was coined to describe a class of painters – René Laubies, Frédéric Benrath, René Duvillier, Fernando Lerin, Nasser Assar, and possibly others – whose work was seen as broadly representing a modern naturalistic non-figurative movement that remained aloof

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Rene Laubies (1924 - 2006) "Sky," 1967 Oil on paper, 50 x 55 cm Greek National Gallery, Athens (inv. no: Π.4090)Donated by Paul Facchetti On returning from the United States in 1958, I met Italo Magliano at the gallery of Le Noci. Italo had a strong personality; he knew how to communicate his enthusiasm for painting. He animated to convince and overcome. Corso Vercelli in its art nouveau

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He discovered my painting at Facchetti's gallery when I was in the United States. He had opened his gallery in via Brera [in Milan] with the support of Italo Magliano, Count Panza, Visconti etc... These collectors immediately bought several of my paintings and I became the friend of Magliano who supported me for more than forty years. Through me, Le Noci knew Fautrier. When I brought him

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I have ardent dietary, emotional and other featured "skinship" bonds with Japanese customs and formalities. My mother died when I was still more or less a child. Afterwards I began to live with a Japanese American family in Diamond Bar. In this way, my second mother was Japanese. This is where it started. Focusing on food, I suppose in ancient agrarian times the Japanese were essentially

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Ezra Pound «I don't remember having any difficulties returning to visit Pound at St. Elisabeth's Asylum. I asked him whether the surroundings obstructed him. "Not at all" he said, "these are the only acceptable Americans." «When I let him know that I was born in Saigon: "Ah, that's why! Only Europeans with a master key to the Suez Canal are worth anything...."» «He died quiet

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Palma Bucarelli At a dinner in Rome where Ione [Graziani], fiery inspirer of Ungaretti, praised physical love, Palma turned to me and said, "What a bore!" This extremely intelligent and effective woman had in fact to be ired to make use of her beauty and obtain what she should've gotten naturally. She made her Museum of Modern Art towards and against everything. In a few months she wrote the

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We find it interesting (correct us if we're wrong) that Jean Fautrier (1898-1964) did not have a solo post-mortem show until 26 years after his death (Jean Fautrier, Museum, Wiesbaden, Germany, 1990). The reader may recall our brief discussion with art-critic/author/editor Castor SEIBEL who we met at Galerie De Meo, Paris, in March 2008 (Assembling notes around Paul Facchetti). Seibel has

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We would like to assemble some scattered notes in homage to Paul Facchetti (b. 1912). The spur of our account is very recent news that this exceedingly rare photographer and artist continues to flourish in Paris. We first came to learn of Paul Facchetti in our initial phase of bio-art-historical investigation of nonfigurative painter René Laubiès (1922-2006). In the process of establishing an

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How do such instances of vital sensibility sustain themselves in an ambiance of memory? Why do they impel us, call attention to themselves like private graffiti dragged into alleyways of interfaciality and interspatiality? What can be supposed from these collectible emissions as if children demanding to be seen and heard, who denounce curatorial arts as bollix and play at what they do until

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Rene Laubies, "Composition" (before 1975, oil on paper glued to stretched linen) Musée des Beaux-Arts de Dijon (Côte d'Or, France) I FIRST MET RENE ON THE BEACH AT PURI, in Orissa India in 1983. It was late afternoon, and he was standing on the shore wearing Bermuda shorts and a colourful shirt while casually talking to a German traveller. I was out in the water body surfing

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René Laubies (French, 1924–2006) Mykonos, 1958. Oil on paper laid on canvas, 65 x 100 cm. (25.6 x 39.4 in.) On learning of the passing of Rene Laubies the figurative infix died all around me. It had taken the death of my friend and teacher to tip me into sheer prefiguration. I had never been able to go there before in spite of my arriving to the crucial point of esteeming non-figuration

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Photographer and gallery owner Paul Facchetti died on 27 November 2010. He was 98 years old. Facchetti was the consummate mid-20 to early-21st cen global art-historical patriarch. Paul was among Rene Laubiès' earliest supporters in the 50s in Paris, and his Galerie Facchetti was the first to exhibit a selection of Laubiès' work under the banner of nuagisme. In Portraits et Aphorismes (2001),

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Of the tropical agricultural and horticultural goods that stimulated 15th century Southeast Asian sea trade both among herself as well as with the world, the black peppercorn or Piper nigrum was far and away king. This was followed by cloves, then nutmeg seed together with its outer covering called mace, then raw palm sugar and benzoin resin widely used in incense production. Next

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In many ways a product of South-South trade, its culture exchanges, African-Asian capital flows including peripheral hybridizaiton (Verges 2003) at a time when steam ships ruled the sea. "I'm Colonial French," Laubies explained. "I'm not French." Yet Rene Laubies also was not exactly white, but a quite French-leaning Creole-Afro-Eurasiatic: the product of an overseas "Creole" French jurist and a

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Rene Laubies, 1981, oil on coated paper mounted on stretched Belgian linen   "When a Chinese painter of the ancient high period began to paint, he first burned incense, calmed and stilled his mind, collected his spirit and meditated. He let life's troubles and sordid propaganda gradually depart. With his spirit opened, he created an inner emptiness and thereby communed with the

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We came across Pan Da'an (潘大安) and his valuable essay "Tracing the traceless antelope: Toward an interartistic semiotics of the Chinese sister arts" (College Literature, Feb 1996) while researching the theoretical underpinnings of the colonial French non-figurative painter Rene Laubies. This project requires an historical grasp of the Dhyana/Chan/Taoist contribution as stems from ancient Chinese

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