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“In his cosmogony, every thing, every being—plant, animal or human—deserves the same respect. For all are confronted with the same iron law: solitude.” (Luc Desbenoit).
“Marc Trivier’s photographs write a tragedy of light, one that only receives beings—humans, trees, or beasts—by burning them, before disappearance.” (Xavier-Gilles, Le Monde Libertaire).
“After thirty-five years of photographic practice, of obsessions, perhaps what remains is this: a singular way of recording the burning of light, unfolding from one image to the next, a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers.” (Marc Trivier).
“Photography says only one thing: ‘It was.’ We fix only what has been. If there is a tragedy, it lies there.” (Marc Trivier)
“(...) rather than being one more portraitist of writers and artists, he sets himself apart through his method: under the pretext of adjustments, he makes his models wait, posing for several minutes, which gives them a weary look. He perhaps awaits a more natural behavior. And so we find ourselves before Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault slumped more or less in their chairs. Intimate images.” (Sylvie Rousselle-Tellier, “Une image de fatigue chez Marc Trivier,” Marges, 2004).
“I was reading Genet; for me Genet was just letters on a page. Then one day I saw his portrait—it was like a fracture. How was it possible that these signs were also someone? To make a portrait is to rejoin the name and the face.” (Marc Trivier).
“What interested me was not simply photographing a body or a face, but that particular situation that is someone taking the photograph of someone else.” (Marc Trivier).
Celebrated edition entirely engraved both images and text, richly illustrated with 6 engraved titles, a frontispiece and an engraved half-title for volume I, together with 243 figures, 473 vignettes and tail-pieces engraved by Fessard. The illustration of the first three volumes is the work of Monnet, and in the last three by Fessard after Bardin, Bidauld, Caresme, Desrais, Houel, Kobell, Le Clerc, Leprince, Loutherbourg, and Meyer. The text is entirely engraved by Montulay and Drouet within decorative borders.
Contemporary red morocco bindings, flat spines gilt in a lattice design with floral gilttooling, beige morocco volume and title labels, triple gilt fillet framing the boards, gilt fillet on the edges, gilt roll-tooled borders on the pastedowns, blue paper endleaves and doublures, gilt dentelle turn-ins, all edges gilt. Joints expertly restored.
A handsome copy, elegantly bound in contemporary red morocco with richly gilt-tooled spines, of this edition undertaken by Etienne Fessard, dedicated to the heirs to the kingdom or"enfants de France", the Duke of Berry, the Count of Provence, and the Count of Artois.
« Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » (Luc Desbenoit).
« Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. » (Xavier-Gilles in Le Monde Libertaire).
« De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » (Marc Trivier).
« La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » (Marc Trivier)
« (...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes. » (Sylvie Rousselle-Tellier, « Une image de fatigue chez Marc Trivier », Marges 2004).
« Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage. » (Marc Trivier).
« Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre. » (Marc Trivier).
"In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude." (Luc Desbenoit).
"Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance." (Xavier-Gilles in Le Monde Libertaire).
"From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers." (Marc Trivier).
"Photography says only one thing: 'It was.' One only fixes what has been. If there is a tragedy, it is there." (Marc Trivier)
"(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He is perhaps waiting for more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images." (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier", Marges 2004).
"I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is to weld together the name and the face." (Marc Trivier).
"What interested me was not simply to photograph a body or a face, but this particular situation which is someone in the process of taking a photo of someone else." (Marc Trivier).
Rare first edition illustrated, at the end of the volume, with 2 folding plates.
Unique edition, of the utmost rarity, rendered all the more so by the second dedication to Berthier, unrecorded elsewhere and evidently added later.
It is known that the young Bonaparte, assigned to the artillery regiment of La Fère, had passionately learned his military trade at the Royal School of Artillery in Auxonne.
It is also known that he had studied in depth the Nouveaux principes d'artillerie by Benjamin Robins, on which he left notes.
This work must therefore have drawn his particular attention. The author long taught artillery in military schools, yet little is known about him. "Napoléon n'oublia jamais sa formation d'artilleur..."
"Il fit jouer à cette arme un rôle de plus en plus marqué," confirms Jean Tulard.
A rare and appealing copy preserved in its original temporary blue wrappers, with the title inscribed in manuscript at the head of the spine.
First edition, one of 300 numbered copies signed and justified by Frans de Geetere, reserved for the friends of La Marie-Jeanne, the only copies printed on deluxe paper.
As stated in the limitation, our copy is complete with a manuscript leaf from the work and an original drawing by the author depicting two reclining nude women, signed by him.
A desirable copy, complete with its rare promotional wraparound band: "le livre qu'aucun éditeur n'a osé publier".
First edition printed in small numbers at the author's expense. This book exists only in proof state with blank wrappers and was never commercially sold. There were no deluxe copies printed.
The author distributed to his friends this set of printed proofs, with blank wrappers. The first cover, also blank, bears a printed stamp "proofs".
Foxing to covers, joints lightly rubbed.
Exceptional presentation copy: "to Monsieur Mauge this clandestine book most cordially Jacques Chardonne."
First edition.
Marbled paper boards, smooth spine, gilt lettered red morocco title-label lengthwise. Slightly sunned boards, some minor restorations to title page.
Extremely rare essay on a so-called “cure” for breast cancer, published during the French Revolution.
First edition of this important first-hand account of the deportation and enforced stay in French Guiana of the counter-revolutionary journalist and songwriter Louis-Ange Pitou (1767–1846), placed under “preventive” arrest after the Directory’s coup d’état of 18 Fructidor, Year V [4 September 1797], sentenced to transportation, and released from exile only after 18 Brumaire (cf. Fierro, 1170. Sabin 63057. Leclerc 3445.)
The work is illustrated with two folding engraved frontispieces: La détention des déportés sur la frégate La Décade and Le désert de Konanama dans la Guyane.
Contemporary bindings in fawn calf, half-bound with small vellum corners, smooth spines decorated with dentelle tools and double gilt fillets, cherry morocco lettering- and volume-labels, with an inlaid green morocco piece on the volume labels, some rubbing to the spines, marbled paper boards, speckled edges; period bindings.
A pleasing copy preserved in its contemporary bindings.
First edition (cf. Crowley 931. David 132. Poletti 92: "Rara").
Contemporary half tan sheep, smooth spine tooled in gilt with floral motifs and gilt fillets, red morocco lettering-piece with a small loss and a scuff, lower headcap lacking, marbled paper boards, marbled edges, period binding.
This celebrated "Manuel du Dentiste permit d'acquérir les indispensables connaissances théoriques…" (Besombes, Hist. de l'Art Dentaire, 282)."
Rare first edition, illustrated with an engraved frontispiece, two copper-engraved plates, and twenty-five woodcut figures in the text (cf. Rosenthal, Bibliotheca Magica et Pneumatica, 8648, which records only an edition of 1788).
A few light spots of foxing; two dampstains affecting some leaves.
Contemporary half tan calf, the smooth spine faded and decorated with gilt rolls, fillets and floral tools, gilt initials at the foot; some rubbing and two small black stains to the spine; marbled boards, marbled endpapers and pastedowns, marbled edges.
Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "Le penseur" et deux corrections autogrpahes, nouvelle initialement parue dans la revue Dans le train n°15, 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.
Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Dans le train, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort. les deux corrections autogrpahes et le titre au crayon semble indiquer que Boris Vian avait prévu une nouvelle publication.
Cette biogaphie express de la courte vie d'un philosophe de génie : Urodonal Carrier, était destinée à être lue le temps d'un trajet en transport en commun. Elle fait partie douze textes que Boris Vian publia entre 1948 et 1950 dans la revue humoristique Dans le train.
Provenance : Fondation Boris Vian.
Original autograph manuscript, 8 pages on 4 squared leaves, extensively revised and signed by Boris Vian. Subtle horizontal folds.
This short story, written on 7 June 1948 according to Noël Arnaud, was first published in issue no. 2 of the magazine Dans le train, and later included in the collection Le Loup Garou. The manuscript differs slightly from the printed versions.
Original autograph manuscript of a short story by Boris Vian, written in 1945 and published posthumously in the collection Le Loup-Garou in 1970.
Highly dense manuscript of 17 pages on 9 sheets, written in black ink with deletions and corrections, on perforated graph paper, dated “25.10.45” at the end of the text. One of the very rare manuscripts dated by the author.
Exceptional manuscript of Boris Vian’s first short story, written at the age of 25, just a few months after the Liberation.
Original autograph manuscript of Boris Vian's short story, first published in the magazine Une bouteille à la Mer, no.72, in 1952, then included in Vercoquin et le plancton and republished posthumously in the 1970 collection Le Loup-Garou.
Heavily revised manuscript, written in blue ink on the recto of each sheet, with corrections in purple ink and black pencil.
Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "L'amour est aveugle", nouvelle initialement parue dans la revue Paris-Tabou n°1 de 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.
Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Paris-Tabou, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort.
Ecrit d'un seul jet et comportant très peu de corrections, il témoigne de la créativité de l'écrivain et de son univers onirique hors du commun.
Provenance : Fondation Boris Vian.
Important original autograph manuscript, signed, of Boris Vian’s short story written in 1950, first published in Bizarre no. 32–33 in 1964, and later included in the posthumous collection Le Loup-Garou in 1970.
With Vian’s autograph name and address at the head of the manuscript.
Extensively revised manuscript, written in blue and violet ink on the versos of each leaf, with a pasted slip of corrections mounted to page 13.
A striking work of speculative fiction in which Boris Vian prophesies artificial intelligence as a conversational module drawing on the integration of encyclopedic data:
“The model you see here is designed to acquire the complete knowledge contained in the sixteen volumes of the Larousse Grand Encyclopedic Memo of 1978 […]. It is an administrative machine, Florence. It is meant to serve as an adviser (…). For every request for information (…), it will provide (…) the typical answer of an extensive French culture. In all circumstances it will indicate the course of action to follow, (…) explain what it is about and how to behave (…). It must absorb everything. It only has a chance of balanced behaviour if it knows everything. Only on this condition can it remain objective and impartial.”
Unlike the utopias of his time, Vian’s narrator does not imagine an A.I. with its own thought and sensibility, but rather a true aggregator of knowledge equipped with an autonomous and efficient search engine. Paradoxically, its sensibility becomes the cause of its downfall: after absorbing Toi et moi, Paul Géraldy’s sentimental romance, the machine falls in love and ultimately assaults its creator.
Anticipating Google and ChatGPT more than fifty years before their emergence, Vian’s little futuristic tale above all stages the dynamics of human relationships, the real subject of the story, in which he joyfully inverts the conventions of seduction.
A very rare signed literary manuscript by Boris Vian.
Provenance: Boris Vian Foundation.
First edition illustrated with 15 original copperplate engravings, including 10 in color, by Maurice de Vlaminck, one of 250 numbered copies on Arches laid paper.
The work is also illustrated with 2 portraits by Amedeo Modigliani depicting Maurice de Vlaminck and his wife.
Full Empire green morocco binding, spine with two prominent raised bands extending as triangles in blind on the covers, spine decorated with three gilt lozenges with gilt title and separated by a transverse gilt bar, marbled paper endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, top edge gilt, Empire green morocco-edged slipcase, marbled paper boards, contemporary binding signed by the workshops of C. Muller, Nancy bookbinder.
Manuscript signature by Maurice de Vlaminck in pencil below his frontispiece portrait.
Spine slightly darkened, otherwise a handsome copy.
The rare first edition. The letter to the king is preceded by his coat of arms which occupies the facing page. Royal armorial vignette on title.
Contemporary limp vellum binding. Unlettered smooth spine. Good copy.
Curious collection of letters that the author addressed to great figures in order to obtain favors and gratifications from them. Printed without signatures or pagination so as to be able to change the order of the letters and offer the dedication to each of the persons in the letters. 35 letters compose the collection, this one seeming to have been composed for the king, followed by the queen, the prince, and the Dukes.
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself by his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or even Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier", Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is re-welding the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, welcoming beings - men, trees or beasts - only by burning them, before disappearing."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he waits for more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait means reuniting the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, welcoming beings - men, trees or beasts - only by burning them, before disappearing."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he waits for more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait means reuniting the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, everything, every being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which only welcomes beings - men, trees or beasts - by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We only fix what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself by his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is reuniting the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, everything, every being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which only welcomes beings - men, trees or beasts - by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We only fix what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself by his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is reuniting the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
The generation of abstract expressionists of which Willem de Kooning is part experienced great media coverage. The group is primarily known through its male figures, Pollock, Rothko, or Franz Kline. These painters play on their masculinity to put forward an action painting where the body enters the canvas. De Kooning does not hesitate, in the manner of Picasso, to have himself photographed shirtless in his studio or in full struggle with his canvas. However, Marc Trivier does not show him to us in this public image. He manages to circumvent it to show us a painter slumped in his chair, perhaps tired from the work accomplished, who emerges from the arena of painting that critic Rosenberg spoke of ("A un certain moment, les peintres américains [...] commencèrent à considérer la toile comme une arène dans laquelle agir, plutôt que comme un espace dans lequel reproduire, recréer, analyser ou "exprimer" un objet réel ou imaginaire. Ce qui devait passer sur la toile n'était pas une image, mais un fait, une action." ["At a certain moment, American painters [...] began to consider the canvas as an arena in which to act, rather than as a space in which to reproduce, recreate, analyze or 'express' a real or imaginary object. What was to pass on the canvas was not an image, but a fact, an action."] 1952).
"In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude." (Luc Desbenoit).
"Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance." (Xavier-Gilles in Le Monde Libertaire).
"From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burn of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers." (Marc Trivier).
"Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there." (Marc Trivier)
"(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chairs. Intimate images." (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier", Marges 2004).
"I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is welding back together the name and the face." (Marc Trivier).
"What interested me was not simply to photograph a body or a face, but this particular situation which is someone in the process of taking the photo of someone else." (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he is waiting for more natural behavior. And we find ourselves face to face with Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait means welding together the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he is waiting for more natural behavior. And we find ourselves face to face with Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait means welding together the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
"In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude." (Luc Desbenoit).
"Marc Trivier's photographs write a tragedy of light, the latter welcoming beings - men, trees or beasts - only by burning them, before disappearance." (Xavier-Gilles in Le Monde Libertaire).
"From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers." (Marc Trivier).
"Photography says only one thing: 'It was.' One only fixes what has been. If there is a tragedy, it is there." (Marc Trivier)
"(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images." (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier," Marges 2004).
"I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? To make a portrait is to weld together the name and the face." (Marc Trivier).
"What interested me was not simply to photograph a body or a face, but this particular situation which is someone in the process of taking a photo of someone else." (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs could also be someone? Making a portrait is soldering the name and the face back together."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs could also be someone? Making a portrait is soldering the name and the face back together."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burn of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is to rejoin the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
"Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude." ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
"Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition." ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
"De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie." ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burn of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
"La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là." ["Photography says only one thing: 'It was.' We fix only what has been. If there is a tragedy, it is there."] (Marc Trivier)
"(...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes." ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier" ["An image of fatigue in Marc Trivier"], Marges 2004).
"Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage." ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is to rejoin the name and the face."] (Marc Trivier).
"Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre." ["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
« Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
« Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. » ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
« De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
« La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » ["Photography says only one thing: 'It was.' One only fixes what has been. If there is a tragedy, it is there."] (Marc Trivier)
« (...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes. » ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves face to face with Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, « Une image de fatigue chez Marc Trivier », Marges 2004).
« Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage. » ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? To make a portrait is to reunite the name and the face."] (Marc Trivier).
« Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre. » ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
« Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
« Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. » ["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).
« De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » ["From thirty-five years of photographic practice, of obsessions, perhaps this is what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).
« La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie, elle est là. » ["Photography says only one thing: 'It was.' One only fixes what has been. If there is a tragedy, it is there."] (Marc Trivier)
« (...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes. » ["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves face to face with Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, « Une image de fatigue chez Marc Trivier », Marges 2004).
« Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage. » ["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? To make a portrait is to reunite the name and the face."] (Marc Trivier).
« Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre. » ["What interested me was not simply photographing a body or a face, but this particular situation which is someone taking a photo of someone else."] (Marc Trivier).
FOUCAULT Michel Portrait of Michel Foucault. Original artist's photograph.
Large original photographic portrait in black and white by Marc Trivier.
Original unsigned silver print, like most of Trivier's works.
Small tear to upper edge.
A handsome original silver print proof by the famous Belgian photographer, one of the most secretive contemporary artists, who - despite early international success - preferred to limit his output to preserve the coherence of his oeuvre. Marc Trivier doesn't do after-prints of his old portraits, and in any case, the paper he used for printing is no longer sold. The artist "prints his images himself on Ilford baryta paper, devoting several days of work to each. He pays special attention to rendering the whites, contrasted with unusually dense blacks. A Marc Trivier print is like none other. When he does agree to exhibit his images, he suspends them in self-made stainless steel frames, giving the paper the freedom to live its life" (Xavier-Gilles, "Marc Trivier et la tragédie de la lumière [Marc Trivier and the Tragedy of Light]" in Le Monde Libertaire, 2011). This "life of the paper" participates in the work in the same way as the various changes that the photographs undergo when they're exhibited: "In the boxes, the prints buckle, but so what: it's the photographer who's giving rise to this sort of accident" (Claire Guillot, "Les face à face sans échappatoire du photographe Marc Trivier [The inescapable encounters of the photographer Marc Trivier], Le Monde, 2011). Marc Trivier has a particular sensibility for the material aspect of his work. Though photography essentially relies on the multiple, this intervention by the artist in the entire process of creation gives these prints an autobiographical air.
Whether photographing artists, mad people, trees, or abattoirs, Marc Trivier approaches all his subjects with a gaze that is as precise as it is intense.
"In his cosmogony, each thing, each being, whether plant, animal, or human, deserves the same respect. Because all are confronted by the same cast-iron law: solitude" (Luc Desbenoit).
The beauty that emanates from his photos comes from this nakedness. There is no retouching and no reframing. One finds throughout his oeuvre the same square format underlined by the squares of the negative that Trivier leaves on his images. This frame traps our gaze in the photographs where the artifice of color is rejected for a cutting black and white. All artificiality gone, we are faced not with the arrangement of a subject but a presence exacerbated by the radiant and singular light, testimony to a lived moment and not a pose. It is this light, tied to the photographic medium, that unites Marc Trivier's various series:
"Marc Trivier's photographs write a tragedy of light, which does not welcome beings - humans, trees, or animals - but rather burns them before disappearance" (Xavier-Gilles in Le Monde Libertaire).
It is also this tragedy of light, freed of all artifice, that gives his works the air that makes them so immediate. This "burning" of the light throws us back into a real moment, to the "that happened" of Barthes (Camera Lucida, 1980):
"Of thirty-five years of photography, of various obsessions, perhaps this is what is left: a singular way of recording the burning of the light, carried through one image after another, in a succession of propositions that seem to resemble one another and yet each is just as singular as the fraction of the moment to which it refers" (Marc Trivier).
"Photography says only one thing: 'that happened.' You can only record what has been. If there is a tragedy to it, it is in this" (Marc Trivier)
Warhol, Foucault, Beckett, Dubuffet, etc.: the most famous writers and artists posed for Trivier. At the same time, the artist was just as interested in the margins of society, to what people did not wish to see. He therefore photographed the mentally challenged and abattoirs, images he then contrasted with celebrities. From the late '80s, his work has been unanimously acknowledged and he received the prestigious Young Photographer Award from the International Center of Photography in 1988, as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris, the Musée de l'Elysée in Lausanne, the Maison Européenne de la Photographie in Paris also devoted an important retrospective to Trivier in 2011.
The photographs of the famous figures of his era that Trivier took do not seek to show the public face of these artists. Taken head-on and looking into the lens, they give us an image of intimacy:
"...instead of being just another portraitist for writers and artists, he marginalized himself by his actions: under the pretext of adjustments, he made his models wait; he made them pose for several minutes, which gives them a weary air. He may have been waiting for them to behave more naturally. And so we are faced with Francis Bacon balancing precariously, Samuel Beckett, Jean Dubuffet or even Michel Foucault more or less squeezed into their chairs. Intimate images" (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier [Marc Trivier's Tired Look]", Marges 2004).
Photographed in their personal worlds, mostly in their bedrooms, the subjects let themselves go, are no longer in charge of their image. The lack of balance that results reveals the fragilities of these strong characters and allows Trivier to reconstitute the unity of the private body with the public work.
"I was reading Genet ; for me Genet was letters on a page. And then one day I saw a photo of him and there was some kind of a break. How was it possible that these symbols were also an actual person? Taking a portrait is reconciling the name and the face. " (Marc Trivier).
More than a portrait, each photo is the witness of an exchange between the subject and the artist, of a moment from real life. The presence of the photographer is palpable in each portrait Trivier takes:
"What interested me was not simply capturing a body or a face, but that specific situation where one is in the process of taking a photo of another" (Marc Trivier).
« Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » ["In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude."] (Luc Desbenoit).
« Les photographies de Marc Trivier écrivent une tragédie de la lumière, celle-ci n'accueillant les êtres - hommes, arbres ou bêtes - qu'en les brûlant, avant disparition. »
["Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance."] (Xavier-Gilles in Le Monde Libertaire).« De trente-cinq ans de pratique photographique, d'obsessions, c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière, décliné d'une image à l'autre, en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. »
["From thirty-five years of photographic practice, of obsessions, perhaps that's what remains: a singular mode of recording the burning of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers."] (Marc Trivier).« (...) au lieu d'être un portraitiste d'écrivains et d'artistes parmi tant d'autres, il se marginalise par son dispositif : sous prétexte de réglages, il fait attendre ses modèles, il les fait poser plusieurs minutes ce qui leur donne un air las. Il attend peut-être un comportement plus naturel. Et on se retrouve face à Francis Bacon en équilibre précaire, Samuel Beckett, Jean Dubuffet ou encore Michel Foucault plus ou moins tassés sur leur chaise. Des images intimes. »
["(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. Perhaps he awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chair. Intimate images."] (Sylvie Rousselle-Tellier, « Une image de fatigue chez Marc Trivier », Marges 2004).« Je lisais Genet ; pour moi Genet, c'était des lettres sur un livre. Et puis un jour j'ai vu son portrait, il y a eu comme une fracture. Comment était-il possible que ces signes soient aussi quelqu'un ? Faire un portrait, c'est ressouder le nom et le visage. »
["I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs could also be someone? Making a portrait is reuniting the name and the face."] (Marc Trivier).« Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre. »
["What interested me was not simply photographing a body or a face, but this particular situation which is someone in the process of taking a photo of someone else."] (Marc Trivier).
