Tule River Newsletter

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• cours - matière potentielle : title
• cours - matière potentielle : students with the hope

Tule River Newsletter Tule River Tribal Council Chairman Ryan Garfi eld Vice-Chair Buck Carothers Treasurer Michele McDarment Secretary Willie J. Carrillo Sr. Members Heather Teran Duane M. Garfi eld Sr. Rhoda M. Hunter James Diaz Kevin M. Bonds In This Issue Veterans Parade 2 Yokuts history 4 Yokuts legacy 5 Elders news 6 New homes on Rez 7 Prescribed burning 8 Be advised**** 9 Incentive luncheons 10 Thanksgiving 12 Forest news 14 Tule River hero 15 Students of the Month 18 A little history 22 TRAP 24 Election info 26 Recreation news 28 EMC news 36 Birthdays 38 Events 39 Continued on page 12 A down home Thanksgiving for the Tule River Volume

• yokuts
• areas of poor road conditions
• academic awards
• awards for scholastic achievement
• income tribal
• tule river
• tribal police
• burn project areas
• conditions

Sujets

• Albright
• Stinson
• Murillo
• Cunningham
• Carrillo
• Barrios
• Santos

Informations

• Publié par: irma
• Publié le: 12 décembre 2011
• Nombre de lectures: 15
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

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NUVRJNVTTGEORGES FOLMER 1895-1977GEORGES FOLMER
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18th January - 15th February 2012
104 Greene Street New York NY 10012
15th - 25th March 2012
Stand 355 TEFAF Maastricht The Netherlands
24th April - 11th May 2012
16 Savile Row London W1S 3PL
& 26 Cork Street London W1S 3ND
W A T E R H O U S E & D O D D
L o n d o n + 4 4 2 0 7 7 3 4 7 8 0 0
N e w Yo r k + 1 2 1 2 2 2 6 3 0 0 0
i n f o @ w a t e r h o u s e d o d d . c o m
w w w . w a t e r h o u s e d o d d . c o m / g e o r g e s - f o l m e rFrom the Golden Ratio to
Geometric Abstraction
A conversation between Laurence Imbernon,
Director of the Musée des Beaux-Arts of
Rennes, and Catherine Folmer-Santoni,
daughter of the artist
LI: Since 2010, when we put together the Folmer
retrospective for the Musée des Beaux-Arts in Rennes,
you have done me the honour of showing me, one by
one, your father’s entire oeuvre. I recall the term you
used to describe the spring that drove Folmer’s
artistic genius - the “nécessité intérieure” - a phrase
claimed by Folmer for himself who in turn had
borrowed it from Kandinsky. I think that there is clear
evidence to support this in the collection you showed
me.
At first this motivation translated itself into a “plan
extérieur”: the break up of his social milieu; the
circumstances of the 1914-18 war, when, as a civilian prisoner in the camp at Holzminden, he affirmed his
talent with a number of drawings, small paintings, watercolours, and even theatre decorations. As he wrote:
“nous faisions tout avec un bout de ficelle et des récupérations de fortune.” But this ‘nécessité intérieure’
gripped him upon his arrival in Paris in 1919. Through the creation of theatre decorations in the studio of
the Nabis painter and writer, Henri-Gabriel Ibels, he became involved in the stylisation of form. From then
onwards Folmer, who followed in the tradition of the great masters from whom he drew his knowledge,
engaged himself in the research that throughout his career served to succour and renew his creativity.
CF: In effect, on his debut in the 1920s, he created an echo of his senses, all of which vibrated within him:
light (from his travels in Algeria), music (inherited from his family, he loved listening to César Frank,
Beethoven, Bach, Schubert ...), literature (an inveterate reader he talked emotionally of the poet and
essayist Charles Péguy and of Alain-Fournier, author of ‘Le Grand Meaulnes’). He had already been prepared
by the works of Ernest Renan, Émile Zola, Romain Rolland, and the philosophers Valéry and Nietzsche.
Little by little the flow staunched itself and provoked an indescribable curiosity towards “that which there
is to do anew” (“ce qu’il y a de nouveau à faire” as he repeated often).
LI: This «nouveau à faire» can be traced precisely to 1926, the year he met Félix Delmarle, a rare defender
(in France at least) of the Neoplasticism theories of Piet Mondrian, that definitively convinced him to
express his «nécessité intérieure» in a new pictorial manner that constituted his true style and would
define his artistic identity. Thus were born his first cubist works.
CF: At this point Folmer started to employ the «Nombre d’Or» (the Golden Mean).
LI: Exactly. Using his analysis of the Golden Mean, Folmer produced a very specific type of cubistic work. He
used the multiple perspectives and stylisation of forms, but introduced into his cubist works a geometric
construction of straight lines and diagonals to form harmonious partitions. This «cubisme du nombre d’Or»
appears to me to be fundamental to Folmer’s geometric work. He dedicated himself to the deepest study of
the rules of ‘divine proportion’ while at the same time working on polyhedrons, for Folmer always
conducted his researches with both pictorial and sculptural ideas in mind. CF: The painting ‘Les Fleurs d’Or’ (1936-38) proves this dual viewpoint. At the end of the 1940s, and in the following
decade, Folmer turned away from academic theories of ideal proportions in his large abstract compositions; nevertheless
the geometry of divine proportion is instinctively present in compositions such as ‘Ramsès’ (1952). Folmer’s rhythmic
forms accord perfectly with the assertions of Matila C Ghyka in his book on the ‘Nombre d’Or’: “Form and rhythm are a
characteristic of reality in the domain of the pure idea, the number is the essence of form, or of perfect form.”
LI: Folmer himself wrote: “There is no random chance in Art”.
CF: In effect, he thought that by the cultivation of intellect one forges the creative energy for ‘Total Art’, such as that
expressed by Van Doesburg, combining music, painting, literature, architecture and dance.
LI: For me, this ethic clearly beckoned to Folmer and he saw in it Malevich’s ‘rhythm of the universe’. This enhanced
creativity was enriched further by his mastery of new techniques: he mixed other matter in with his oil paints, including
sand and powdered eggshells; his drawings combine both charcoal and sanguine. Finally he created contrasts of matte
and glossy ink to underscore his compositions.
In 1935 Folmer was highly innovative: he made his first drawings in ink with tools of his own making, which he called
“encres-monotype”, thus defining their uniqueness.
CF: This multiplying of techniques is perhaps the result of his most recent experiences, where a type of figuration
alternated with a new born abstraction?
LI: Certainly, beyond that Folmer affirmed his choice of figuration by a geometricisation more and more dictated by the
rapport of form, colour and surface textures. Thus, in just ten years Folmer passed from a type of cubism regulated by
the ‘Nombre d’Or’ to an abstract art shared between the pictorial - drawings, ink ‘monotypes’, and paintings - and the
sculptural - coloured wood sculptures that, from 1945 onwards, he defined as ‘constructions spatiales’.
This maturity in his geometric abstraction was further intensified by his investment into collectives of established artists.
Having worked alongside Del Marle and Frédo Sides in the founding of the Salon des Réalités Nouvelles, Folmer now set
about forming the Groupe Espace, whose manifesto he signed in 1951. One of the founding precepts of the group was
personal to him: the synthesis of the Arts, deemed by Folmer as all equal, enshrined in the motto “l’Art dans la vie”.
Thus he proclaimed the heritage of the masters of Neo-Plasticism, the theoreticians of Geometric Abstraction, and he
became not only one of its most active defenders, but also he initiated co-operation with architects in the introduction
of Geometric Abstraction into both interior and exterior spaces. In this role he created monumental mosaics (see below)
in association with Melano, his neighbour in La Ruche. This body of work, relating so closely to mural art and interior
architecture, demonstrates an aesthetic which is unconventional but nonetheless an intrinsic value of Modern Art.
Folmer defined it thus: “la vraie formule de l’Art c’est: encore…”Music & the Art of Folmer
by Bernard de Vienne, composer
At the heart of every piece of classical music lie the
composer’s reflections upon the shape of the music, and
how it unfolds over time. The highest form of art that deals
with time is Music, and it must continually confront these
issues or stagnate through lack of imagination. Thus, formal
construction, in both music and pictorial art, requires an
inventiveness that continually evolves, through variation at
all levels and at all stages of the creative process. In the
1950s Georges Folmer wrote: “Geometric Art, like
mathematics and music, is at the very root of the mind’s
fluctuation and movement. It is similar to a symphony
where everything is fluid, with suggestions and endless
potential. Geometric Art anticipates. Art reaches its highest
stage of refinement when it comes to variations.”
Since Gustav Mahler, Arnold Schoenberg and Claude
Debussy, the breaking down of sounds and the notion of
timbre have enriched the fundamental paradigms of classical music. Timbre is, in essence, what makes a particular
musical sound different from another, such as a guitar and a piano playing the same note at the same loudness.
Nowadays a piece of music is structured by the composer according to timbre as much as rhythm or pitch. Sounds are
broken down into basic parameters, giving different shapes to the sounds, which can be combined in a variety of ways.
Both the timbre and the breaking down of sounds influence the music as it unfolds, constantly creating new sound
spaces and new tones. This has contributed to the rise of new musical forms whilst changing the way in which we listen.
There are many parallels between this form of musical composition and Folmer’s pictorial composition: the pitches,
timing, intensity, texture, the ways of attacking and articulating, the handling of mass and density, and at another level
the stability/instability of cells, intervallic progressions or melodic matrix, spatial construction and the harmonic division
of space, the contour of motifs, the nature of musical flow, the relative duration of musical segments, registers, the
tessiturra of voices and the ranges of instruments, the sound impact, the sheer number of things happening