Vacquerie Did It

Feb 26th, 2008 Posted in General | no comment »

Ah, no wonder that picture looked like Victor Hugo to me – it is Victor Hugo! And actually it’s a photograph that was taken by Vacquerie. There it is on the left.

Victor Hugo, Francois Hugo, Auguste Vacquerie

On the right is (from left to right) Hugo’s son, Francois and Auguste Vacquerie with Hugo (sitting down).

Auguste’s brother, Charles married Victor Hugo’s daughter, Leopoldine. The couple were both tragically killed in a boating accident on September 4, 1843.

Descendants of the Vacquerie family sold its traditional family home and garden in the town of Villequiers to the Seine Maritime department in 1951, and it was opened to the public in 1959. Check that out on this page.

Auguste Vacquerie died about 10 years after Victor Hugo. His death was reported in the New York Times and mentions that he was Hugo’s literary executor and also one of the guardians of Hugo’s grandchildren, Georges and Jeanne.

Victor Hugo

Feb 25th, 2008 Posted in General | one comment »

Reading some stuff on Victor Hugo today – tomorrow is his birthday. Here’s one very interesting article I was reading online today, from a 1952 issue of IMAGE, Journal of Photography of the George Eastman House, which I reproduce for you here only to make it easier to read. You still might want to click on the link since one of the photos in the collection is shown.)


October, 1952 Vol. 1, No. 7
THE VICTOR HUGO ALBUM

In the Gabriel Cromer Collection in the George Eastman House there is an album of photographs of Victor Hugo and his circle.

Bound in morocco leather, it contains forty photographs made between 1852 and 1854, while Hugo was in exile on the Isle of Jersey. An ardent supporter of the new and struggling Republic, he had fled France after the coup d’etat of Napoleon III, when a reward of 25,000 francs was placed on his head for publicly denouncing the policies of the Emperor. The photographs were taken by the poet’s son Charles and Auguste Vacquerie, who went with the patriot to his Jersey refuge at Marine Terrace. The album was composed by Victor Hugo, and his wife, Adele Hugo, to be sent to Euphemie Barbier, whose initials are embossed in gold on the cover. She was the daughter of Dr. Barbier who, with his wife, was also at Jersey and lived in the Hugo home.

It forms a touching document to the life of Victor Hugo during that tragic time. It also provides an extraordinary example of early photography as the aesthetic expression of a great personality. Victor Hugo himself did not touch the equipment which was used in making the collection of pictures in this album, but he supervised the procedures and posed for a number of the photographs. Through the crude mechanics of the apparatus then available; through the chemistry of the early albumen and collodion processes, through the inexperienced work of Charles Hugo and August Vacquerie who were sensitive and obedient to his instructions, Hugo’s poetic artistry is unmistakenly revealed. One finds in these prints the same “light against dark,” the same tragic humor and much the same type of feeling for landscape and figures which appear in the Victor Hugo paintings and drawings. The talented Hugo family had led a life in France full of social and patriotic activity, as well as intensive work in the fields of art and literature. Victor Hugo was able to use much of his energy while in exile writing, but Charles Hugo and Vacquerie found time hanging heavily on their hands. Photography offered a diversion in which everyone could participate. Charles journeyed to Caen where he studied with experts, and returned with some knowledge of the albumen process. Vacquerie mastered the techniques involved in using collodion. They were delighted with the simplicity of these processes compared with the complexities of making daguerreotypes. Friends sent the necessary materials. The two “operators” became proficient in handling their tools, and Hugo’s imagination leaped quickly to the potentialities of this new “sun painting.” The album contains several portraits of him, and a number of landscape studies for which he posed as the tragic exile on the rocks of the wild
Jersey coast.

In the volume is the famous photograph of Hugo’s hand, and another of the beautiful hand of his wife. There are many pictures of companions in exile and their children. These are done with dignity and tenderness, and the discerning eye perhaps can see in them the influence of the artist Hugo most admired, “O Durer, master mind, painter old and pensive!”, whose work is reflected in the poet’s own paintings.

A picture of the Hugo home at Marine Terrace is included, and a detail of the house shows Hugo at an upstairs window, with Charles at another, looking out over the greenhouse where Madame Hugo rested when the family returned from the afternoon walks. In a letter which accompanied the “souvenir” Madame Hugo regrets that Vacquerie was unable to find a print of Madame Barbier to add to the collection. Apparently the filing problems of amateurs were the same a hundred years ago.

Later Vacquerie used some of the photographs in making up a more pretentious volume called Profiles et Grimaces, which was sent to Madame Paul Meurice, the wife of one of Hugo’s closest friends. Victor Hugo is well known as a novelist, poet, essayist play-wright and patriot. A few are aware of his ability as an artist.

The pictures in this album reveal him as a versatile genius who intuitively grasped the potentialities of photography as an art expression. It is fortunate that these beautiful prints of the simple scenes around his home at Marine Terrace and the faces of those in exile dear to him, are preserved in this volume. The Victor Hugo Album is indeed a rare photographic treasure.

You might want to take a virtual tour of the George Eastman House too.

Another thing I saw was a painting of Auguste Vacquerie that I think was actually painted by Hugo. I thought it looked a little like Hugo himself. I wasn’t really looking for Victor Hugo paintings when I saw it – I was looking for art by his great-grandson, Jean Hugo.

In the web mistakes category, I also saw a picture of Hugo with a little boy that is titled Victor Hugo and Auguste Vacquerie. The boy is actually one of Hugo’s sons — Francois, I believe. Auguste Vacquerie was born when Hugo was 17 years old.

Well, gotta go.

I’ll post those pics tomorrow.

Just Like Tom Thumb Blues

Feb 10th, 2008 Posted in Videos | no comment »

I heard this was the day that the real life dwarf Tom Thumb got married in New York City in 1863. If you want to read about that, check it our on wikipedia. It’s quite an interesting story. That reminded me of Tom Thumb Blues, and there are several versions on youtube. Bob Dylan, singing it too low; Nina Simone, singing it fine but it’s audio only, so here’s Neil Young and the lyrics:

(Words and Music by Bob Dylan)
1965 Warner Bros. Inc
Renewed 1993 Special Rider Music

When you’re lost in the rain in Juarez
And it’s Eastertime too
And your gravity fails
And negativity don’t pull you through
Don’t put on any airs
When you’re down on Rue Morgue Avenue
They got some hungry women there
And they really make a mess outa you

Now if you see Saint Annie
Please tell her thanks a lot
I cannot move
My fingers are all in a knot
I don’t have the strength
To get up and take another shot
And my best friend, my doctor
Won’t even say what it is I’ve got

Sweet Melinda
The peasants call her the goddess of gloom
She speaks good English
And she invites you up into her room
And you’re so kind
And careful not to go to her too soon
And she takes your voice
And leaves you howling at the moon

Up on Housing Project Hill
It’s either fortune or fame
You must pick up one or the other
Though neither of them are to be what they claim
If you’re lookin’ to get silly
You better go back to from where you came
Because the cops don’t need you
And man they expect the same

Now all the authorities
They just stand around and boast
How they blackmailed the sergeant-at-arms
Into leaving his post
And picking up Angel who
Just arrived here from the coast
Who looked so fine at first
But left looking just like a ghost

I started out on burgundy
But soon hit the harder stuff
Everybody said they’d stand behind me
When the game got rough
But the joke was on me
There was nobody even there to call my bluff
I’m going back to New York City
I do believe I’ve had enough

Elizabeth Bishop

Feb 8th, 2008 Posted in Literature | no comment »

Yesterday was the poet, Elizabeth Bishop’s birthday and while I wanted to write something about it, I simply didn’t have time. Still, I was reading an article about how amusing her poems are and was astounded at the writer’s take on what Bishop’s poems say.

Shaya One says:

“The writings of Elizabeth Bishop are more humorous than anything else. Not a single one of her poems reflect poetry, love, sadness, anger or any emotion. Here’s a breakdown of each and every one of her pieces. You’ll find yourself much amused and insulted, maybe something she was aiming for, but they don’t follow the lines of poetry. There is no emotion that really takes you away other than laughter if that counts. You’ll be amused anyway. ….” (continued here)

Perhaps we sometimes get out of poetry what is in our own hearts and souls and miss what the poet really meant, unless of course, we have a similar mindset ourselves. In any event, I did not get the same thing from Miracle at Breakfast as Shaya at all.

Actually, the beginning of the poem reminded me of Jesus feeding the hungry.

A Miracle for Breakfast

At six o’clock we were waiting for coffee,
waiting for coffee and the charitable crumb
that was going to be served from a certain balcony
–like kings of old, or like a miracle.
It was still dark. One foot of the sun
steadied itself on a long ripple in the river.

The first ferry of the day had just crossed the river.
It was so cold we hoped that the coffee
would be very hot, seeing that the sun
was not going to warm us; and that the crumb
would be a loaf each, buttered, by a miracle.
At seven a man stepped out on the balcony.

He stood for a minute alone on the balcony
looking over our heads toward the river.
A servant handed him the makings of a miracle,
consisting of one lone cup of coffee
and one roll, which he proceeded to crumb,
his head, so to speak, in the clouds–along with the sun.

Was the man crazy? What under the sun
was he trying to do, up there on his balcony!
Each man received one rather hard crumb,
which some flicked scornfully into the river,
and, in a cup, one drop of the coffee.
Some of us stood around, waiting for the miracle.

I can tell what I saw next; it was not a miracle.
A beautiful villa stood in the sun
and from its doors came the smell of hot coffee.
In front, a baroque white plaster balcony
added by birds, who nest along the river,
–I saw it with one eye close to the crumb–

and galleries and marble chambers. My crumb
my mansion, made for me by a miracle,
through ages, by insects, birds, and the river
working the stone. Every day, in the sun,
at breakfast time I sit on my balcony
with my feet up, and drink gallons of coffee.

We licked up the crumb and swallowed the coffee.
A window across the river caught the sun
as if the miracle were working, on the wrong balcony.

I see emotions in this poem. I see hungry people hoping for a meal and getting a crumb, experiencing different emotions. There is hope, contempt, disappointment and disbelief in this poem and all expressed within a rather difficult form of poetry, the sestina.

I don’t see anything really amusing in it, do you?

Wynken, Blynken and Nod

Feb 8th, 2008 Posted in Videos | no comment »

I am trying to get a reading on Wynken, Blynken and Nod, but in the meantime, take a look at the song, being performed by the Simon sisters

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