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Together with Claudine he founded Stardom in , his first true family operated business without any outside participation, according to Giraud, [] with the to copies limited mini art portfolio "Mockba - carnet de bord" becoming the company's first recorded publication in September the same year. In , the company was renamed Moebius Production — singular, despite the occasional and erroneous use of the plural, even by the company itself. Despite repeated pleas to convince Giraud otherwise, it left writer Jodorowsky with no other recourse than to start anew with a new artist. Both parts were published on the same date 13 November [] and were the last ones written by Van Hamme before Yves Sentes took over the series.
Late in life, Giraud also decided to revive his seminal Arzak character in an elaborate new adventure series; the first and last in hindsight volume of a planned trilogy, Arzak l'arpenteur , appeared in By this time, Giraud created his comic art on a specialized graphic computer tablet, as its enlargement features had become an indispensable aid, because of his failing eyesight. As book illustrator, Giraud illustrated for example the first edition of the science fiction novel "Project Pendulum" by Robert Silverberg , [] and the French edition [] of the novel " The Alchemist " by Paulo Coelho.
Adventures in Slumberland and Thru the Moebius Strip as outlined further down the line.
He also wrote the "Story Notes" editorials for the American Epic publications, providing background information on his work contained therein. In , he took time off to write his " Moebius-Giraud: Histoire de mon double " autobiography. Tron was not a big hit. The movie went out in theaters in the same week as E. There was also Blade Runner and Star Trek that summer so it was a battle of giants.
Tron was a piece of energy trying to survive. It is still alive. And the new movie is what Steven wanted to do back then but at that time CG was very odd and we were pioneers. I almost did the first computer-animated feature after that, it was called Star Watcher, we had the story, we had the preparation done, we were ready to start. But it came apart; the company did not give us the approval.
It was too far, the concept to do everything in computer animation. We were waiting, waiting, and then our producer died in a car accident. That was my third contribution to animation and my worst experience. When I saw the film for the first time I was ashamed. It's not a Disney movie, definitely. But because the movie has, maybe a flavor, a charm, it is still alive after all that time.
More than 35 years now and it is still here. Alas, rather disappointingly, we had to stop after only 45 seconds! Giraud, a non-English speaker at the time, later admitted that the prospect of moving over to Los Angeles filled him with trepidation, initially causing him to procrastinate. Giraud was grateful for Druillet pushing him as he found that he reveled in his first Hollywood experience. Despite Jodowowsky's project falling through, it had attracted the attention of other movie makers. One of them was Ridley Scott who managed to reassemble a large part of Jodorowsky's original creative team, including Giraud, for his science fiction thriller Alien.
Hired as a concept artist, Giraud's stay on the movie lasted only a few days, as he had obligations elsewhere. Nonetheless, his designs for the Nostromo crew attire, and their spacesuits in particular, were almost one-on-one adopted by Scott and appearing onscreen as designed, [] resulting in what Giraud had coined "two weeks of work and ten years of fallout in media and advertising". Scott was taken with Giraud's art, having cited "The Long Tomorrow" as an influence on his second major movie Blade Runner of see below , and invited him again for both this, and his subsequent third major movie Legend of , which Giraud had to decline in both cases for, again, obligations elsewhere.
He especially regretted not having been able to work on the latter movie, having deemed it "very good", [] and it was still on his mind as late as , as he directly referred to the movie when he made his "unicorn" statement regarding his legacy, quoted below. The heavily "Arzach"-inspired last, "Taarna", section of the movie, has led to the persistent misconception, especially held in the United States, that Giraud had provided characters and situations for the segment, albeit uncredited. While not particularly pleased with the fact, Giraud was amused when third parties wanted to sue the Americans on his behalf.
Still, Alien led to two other movie assignments in , this time as both concept and storyboard artist. The first one concerned the Disney science fiction movie Tron , whose director Steven Lisberger specifically requested Giraud, after he had discovered his work in Heavy Metal magazine. Outside his actual involvement with motion pictures, Giraud was in this period of time also occasionally commissioned to create poster art for, predominantly European, movies.
Slated for the production was Arnie Wong, whom Giraud had met during the production of Tron and, incidentally, one of the animators of the vaunted "Taarna" segment of the Heavy Metal movie [] , and it was actually Disney whom Giraud offered the production first. Disney, at the time not believing in the viability of such a production in animation, declined. Another member of the commune fronted some of the money for the project to proceed, and the production was moved to Wong's animation studio in Los Angeles. Much to Giraud's disappointment and frustration though, the project eventually fell apart for several extraneous reasons, most notably for lack of funding, as related above by the artist.
Some of the concept art was reprinted in the art book "Made in L.
His definitive return to France in marked the beginning of Giraud's third and last movie period. IV, no 7, pp. Another novelty introduced in the book, is that the narrative is only related on the right-hand pages; the left-hand pages are taken up by one-page panels depicting an entirely unrelated cinematographic sequence of a man transforming after he has snapped his fingers. His work included a report on the poor conditions for peasants in Kabylie , which apparently cost him his job. Interview met Jean Giraud". The culmination of the latter work defends a "midday thought" based in classical moderation or mesure , in opposition to the tendency of modern political ideologies to exclusively valorise race or class, and to dream of a total redemptive revolution.
Yet, despite this failure to launch, it did lead to his, what can be considered, "second Hollywood period" in his "American period". Concurrent with his career as a comic artist in the United States, invitations followed to participate as concept artist on Masters of the Universe , Willow , The Abyss , and finally Yutaka Fujioka's Japanese animated feature film Little Nemo: Adventures in Slumberland , for which he was not only the conceptual designer, but also the story writer.
It was for this movie that Giraud resided in Japan for an extended period of time. His definitive return to France in marked the beginning of Giraud's third and last movie period. Giraud made original character designs and did visual development for Warner Bros. The documentary made for this occasion was testament to the great friendship both men had for each other. She started at the crack of dawn, and only went home in the evening, after the whole team had stopped working.
In his graphic novel short, "Cauchemar Blanc", was cinematized by Mathieu Kassovitz , winning Kassovitz but not Giraud two film awards. Arzak Rhapsody , Giraud saw his ambitions as a full-fledged animation movie maker at least in part fulfilled. A series for French television broadcaster France 2 , it consisted of fourteen four minute long animated vignettes, based on Giraud's seminal character, for which he did the writing, drawings and co-production. Young daughter Nausicaa had voice-over appearances in three of the episodes together with her father.
The Blueberry series was adapted for the screen in , by Jan Kounen , as Blueberry: Two previous attempts to bring Blueberry to the silver screen in the s had fallen through; American actor Martin Kove had actually already been signed to play the titular role for one of the attempts.
Moebius Production served as a production company, with Isabelle Giraud serving as one of its producers. Giraud's working methods were various and adaptable ranging from etchings, white and black illustrations, to work in colour of the ligne claire genre and water colours. To distinguish between work by Giraud and Moebius, Giraud used a brush for his own work and a pen when he signed his work as Moebius. Giraud was known for being an astonishingly fast draftsman. Aided with the use of mind-expanding substances in the first part of his career, Giraud had cultivated various New Age type philosophies throughout his career, such as Guy-Claude Burger's instinctotherapy, which influenced his creation of the comic book series Le Monde d'Edena.
Giraud died in Paris, on 10 March , aged 73, after a long battle with cancer. Many friends and representatives from the Franco-Belgian comic world and beyond attended the services, mirroring Giraud's entire career in the industry. Throughout his entire career, Jean Giraud has given numerous interviews both in Europe as well as in the United States, but it is the series of interview sessions conducted by comics journalist Numa Sadoul that warrants special attention. Entertiens avec Jean Giraud , see below for bibliographical details on all editions , the latter two being each an edited, updated and expanded version of the previous one — and each title incidentally, featuring an entirely different selection of art.
Les cahiers de la BD issue 25, July , none of the later interviews had seen prior magazine publication, be it in part or in whole. For editorial reasons, Sadoul omitted some of the outside testimonials from the second edition for his third. Posthumously published, the title was fully sanctioned and endorsed by Giraud's widow Isabelle who provided a foreword — praising Sadoul for his friendship and tenacity — family pictures, privately created art and additional details on her husband's last two years of his life and has therefore become the closest approximation of an "official biography" of the artist when discounting his own Inside Moebius autobiographical comic and his precursory text autobiography Histoire de mon double.
Giraud himself considered his "enhanced" autobiography on which he had worked for a year, a "funny" piece of work, conceding that accuracy was left to be desired as he could not be bothered to correct mistakes made therein, finding "flavor" in the small inaccuracies, and also admitting that he gave his work only a cursory glance afterwards. Having kept more detailed records, the second edition took in total 19 hours and 45 minutes of interviews conducted between 18 and 21 October at the Sadoul's home in Cagnes-sur-Mer for which Giraud and his future wife Isabelle especially traveled from Paris , augmented with an additional two hours at Giraud's home in Paris on 17 August The third edition accounted for a further 10 hours and 48 minutes worth of interviews, conducted between 15 September and 28 December , either at Giraud's home in Paris or over the telephone.
Sadoul acknowledged that the three series of interview sessions were snapshots in time of Giraud's life and career, causing the artist to occasionally contradict himself in later life — something Giraud himself actually addressed in a humorous fashion in his Inside Moebius comics by regularly confronting his older self with his younger versions — , but chose not to redact or edit such earlier made statements at most adding short, clarifying editorial annotations , instead transcribing these exactly as made at the time. Sadoul's reasoning was that by doing so, it reflected truthfully the spiritual development the artist had undergone throughout his career.
They said that I changed their life, 'You changed my life', 'Your work is why I became an artist'. Oh, it makes me happy. But you know at same time I have an internal broom to clean it all up. It can be dangerous to believe it. Someone wrote, 'Moebius is a legendary artist' I[t] put[s] a frame around me. A legend — now I am like a unicorn.
Many artists from around the world have cited Giraud as an influence on their work. Farewell to an immortal" , over comic artists, this time added with international overseas artists, contributed art as tribute to the deceased artist.
Through Arzach , which dates from , I believe. I only read it in , and it was a big shock.
Not only for me. All manga authors were shaken by this work. Unfortunately, when I discovered it, I already had a consolidated style so I couldn't use its influence to enrich my drawing. Even today, I think it has an awesome sense of space. I fell out of love with American comics, lost interest in the super-hero subject matter, was more interested in the fantasy I saw in the European art.
So it's entirely fair to say, and I've said it before, that the way Neuromancer-the-novel "looks" was influenced in large part by some of the artwork I saw in Heavy Metal. I assume that this must also be true of John Carpenter's Escape from New York , Ridley Scott's Blade Runner , and all other artefacts of the style sometimes dubbed 'cyberpunk'.
Those French guys, they got their end in early. You see it everywhere, it runs through so much you can't get away from it. He is a master draftsman, a superb artist, and more: I wanted to make comics like that when I grew up. He's a unique talent endowed with an extraordinary visionary imagination that's constantly renewed and never vulgar. Moebius disturbs and consoles. He has the ability to transport us into unknown worlds where we encounter unsettling characters. My admiration for him is total. I consider him a great artist, as great as Picasso and Matisse.
Your body died today, your work is more alive than ever. France has lost one of its best known artists in the world. In Japan, Italy, in the United States he is an incredible star who influenced world comics. He was an incredible producer, he said he wanted to show what eyes do not always see.
It has been noted that the quality of the translations of HM Communications has been poor. Fumel , Lot-et-Garonne , France. List of Jean Nouvel works. Aga Khan Development Network. Archived from the original on 15 March Retrieved 30 March Archived from the original on 14 September The New York Times. Archived from the original PDF on 9 April Retrieved 31 March A shorter version in English is also available. State of Art 8.
29 juil. Marie NDiaye est née à Pithiviers (France) en et elle est de Son père est d'origine sénégalaise. Paris: Les Editions de Minuit, (p.). . L'ouvrage inclut aussi une courte biographie de Turner et la desciption détaillée des œuvres .. TOUTE VÉRITÉ Marie NDiaye et Jean-Yves Cendrey. Saint Jean-Baptiste de La Salle (Reims, 30 avril - Manoir de Saint-Yon, faubourgs de 6 Principales innovations pédagogiques; 7 Œuvres; 8 Bibliographie Après sa mort, son institut continue à se développer rapidement en France et . rue de Reims porte son nom; À Rouen: église Saint-Jean- Baptiste-de-La-Salle.
Archived from the original on 10 March Advance Publications via Men. Archived from the original on 24 March Retrieved 2 April Archived from the original on 31 August Retrieved 28 September Retrieved 17 January Retrieved 19 November His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. He published his first volume of poems, Aladdin's Lamp , at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince , the title of a volume he published at twenty-two.
Edith Wharton described him as a man "to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City This was the period in which he met the poet Guillaume Apollinaire , artists Pablo Picasso and Amedeo Modigliani , and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade in It was produced by Diaghilev , with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie.
The piece was later expanded into a full opera, with music by Satie, Francis Poulenc and Maurice Ravel. An important exponent of avant-garde art , Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit , a name that Cocteau himself had a hand in picking.
The popularity was due in no small measure to the presence of Cocteau and his friends. In he met the French poet Raymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together. Cocteau also got Radiguet exempted from military service.
Admiring of Radiguet's great literary talent, Cocteau promoted his friend's works in his artistic circle and arranged for the publication by Grasset of Le Diable au corps a largely autobiographical story of an adulterous relationship between a married woman and a younger man , exerting his influence to have the novel awarded the " Nouveau Monde " literary prize. Some contemporaries and later commentators thought there might have been a romantic component to their friendship. There is disagreement over Cocteau's reaction to Radiguet's sudden death in , with some claiming that it left him stunned, despondent and prey to opium addiction.
Opponents of that interpretation point out that he did not attend the funeral he generally did not attend funerals and immediately left Paris with Diaghilev for a performance of Les noces The Wedding by the Ballets Russes at Monte Carlo. Cocteau himself much later characterised his reaction as one of "stupor and disgust.
Cocteau's opium use and his efforts to stop profoundly changed his literary style. His most notable book, Les Enfants Terribles , was written in a week during a strenuous opium weaning. His account, which includes vivid pen-and-ink illustrations, alternates between his moment-to-moment experiences of drug withdrawal and his current thoughts about people and events in his world. Cocteau was supported throughout his recovery by his friend and correspondent, Catholic philosopher Jacques Maritain. Under Maritain's influence Cocteau made a temporary return to the sacraments of the Catholic Church.
He again returned to the Church later in life and undertook a number of religious art projects. Cocteau's experiments with the human voice peaked with his play La Voix humaine.