(Charles-Édouard) Le Corbusier (Jeanneret-Gris) auf mural.ch

akteur: Le Corbusier (Jeanneret-Gris), (Charles-Édouard)

wikidata-repräsentation:

Q4724

gnd-repräsentation:

118676873

sikart-identifier:

4000293

Open Library:

OL27962A

biografische angaben: Charles-Édouard Jeanneret-Gris, connu sous le pseudonyme de Le Corbusier, est un architecte, urbaniste, décorateur, peintre et homme de lettres suisse romand naturalisé français (né le 6 octobre 1887 à La Chaux-de-Fonds - mort le 27 août 1965 à Roquebrune-Cap-Martin).

Le Corbusier, Fresco, in: L'Esprit nouveau, 1923, cited in: Golan, 2009, p. 19 (dieser beitrag wurde verfasst in: englisch)

The very charming and shrewd organizer Marcel Temporal cries out: 'painters have had enough rotting by bending over easel painting. They aspire to the wall, they want to make frescoes. Easel painting has had its life, we want to return to the great traditions of the fresco.' An 'esprit nouveau' is persuaded of the contrary. Frescoes historiographed [sic] the walls of churches and palaces, told morality tales. One had no books and one read frescoes. In a fleeting homage to Victor Hugo: 'Ceci tuera cela.' Four centuries have forged their way toward greater culture. We love pure Ripolin and without noise. Frescoes that yell on our walls to overwhelm us at all hours of the day? No. Wanting to think, the Jansenists have created a Jansenist frame… On the wall [the easel painting] is a small little square, hermetically shut, which leaves you in peace. The turbulent fresco goes there where there is tumult, jolts, violence, it is in the street, where it shouts all kinds of stories. The billboard is the modern fresco, and it belongs in the street. It does not last five centuries, it goes by in two weeks when it is replaced. It is what an orator is to a philosopher, a harangue is to a good book. Violent, it does not last. Easel painting on the other hand is a closed book. Let's not scream with frescoes in our apartments and public places, where dignity should reign since we have finally come to appreciate the mute eloquence of pure proportions.

kommentar:

Le Corbusier, Fresco, in: L'Esprit nouveau, 1923, cited in: Golan, 2009, p. 19 (dieser beitrag wurde verfasst in: englisch)
eingetragen von Alex Winiger am 16.03.2016, 10:34 (email senden)
The very charming and shrewd organizer Marcel Temporal cries out: 'painters have had enough rotting by bending over easel painting. They aspire to the wall, they want to make frescoes. Easel painting has had its life, we want to return to the great traditions of the fresco.' An 'esprit nouveau' is persuaded of the contrary. Frescoes historiographed [sic] the walls of churches and palaces, told morality tales. One had no books and one read frescoes. In a fleeting homage to Victor Hugo: 'Ceci tuera cela.' Four centuries have forged their way toward greater culture. We love pure Ripolin and without noise. Frescoes that yell on our walls to overwhelm us at all hours of the day? No. Wanting to think, the Jansenists have created a Jansenist frame… On the wall [the easel painting] is a small little square, hermetically shut, which leaves you in peace. The turbulent fresco goes there where there is tumult, jolts, violence, it is in the street, where it shouts all kinds of stories. The billboard is the modern fresco, and it belongs in the street. It does not last five centuries, it goes by in two weeks when it is replaced. It is what an orator is to a philosopher, a harangue is to a good book. Violent, it does not last. Easel painting on the other hand is a closed book. Let's not scream with frescoes in our apartments and public places, where dignity should reign since we have finally come to appreciate the mute eloquence of pure proportions.