Après les deux longues heures de cours de ce matin, je suis allée à l'option Arts Plastiques, j'avais même pas peur de me retrouver seule car je pensais faire de nouvelles rencontres avec les lycéens de l'option.. j'ai croisé une amie, on a cherchée comment représenter le chaos, on a vaguement trouvé et on s'est en-aller. Je suis passée à la librairie pour récupérer mon livre de français, ils ne l'avaient pas reçu, je me suis achetée un livre.
- french : français (m) / literature : littérature (f) / philosophy : philosophie (f)
- maths : maths/mathématiques (f) / algebra : algèbre (f) / geometry : géométrie (f) / physics : sciences physiques (f) / biology : sciences de la vie et de la terre “SVT” (f) (vie = life, terre = earth) / chemistry : chimie (f)
- history : l’Histoire (f) -NB : big H bc story : histoire- / geography : géographie (f) / civics : éducation civique et morale (f)
- english : anglais (m) / spanish : espagnol (m) / german : allemand (m) / latin : latin (m) / (old) greek : grec (ancien (m)
- economic and social sciences : sciences économiques et sociales “SES” (f)
- PE : éducation physique et sportive “EPS” / technology : technologie (f) (trust me it’s shit) / arts : arts plastiques / music : éducation musicale / art history : Histoire de l’art
- classroom : salle de classe (f) / class : cours (m) / subject : matière (f) / report card : carnet de correspondance (m) / notebook : cahier (m) / textbook : manuel (m) / homework : travail à la maison / essay : dissertation
- revising : réviser, v / cramming : bachoter, v / grade : note (french system : x/20 points, you pass if 10/+) (f) / assessment : évaluation (primary school)(f), contrôle, devoir, examen (hs), partiel (uni)(m)
- repeating a year : redoubler, v + le redoublement / (??) : when you’re doing shit and the teacher takes your report card and puts a note for your parents in it : remarque, observation (f) / detention : retenue (f), colle (unformal)(f)
NB : conseil = advice (common), council (rare)
- teacher : professeur-e (1 per class in PreS and PriS, about 12 in SS and HS) / head teacher : principal-e (SS), proviseur-e (HS) (1 per school) / head teacher’s assistant : principal-e/proviseur-e adjoint-e (1 per school) / education adviser : conseiller/ère principal-e d’éducation “CPE” (1 per school, 2 if tough place)
- class teacher : professeur-e principal-e / class representative : délégué-e de classe (in SS/HS, 2 per class)
NB : remember that you use the déterminants LE or LA when the noun starts with a consonant (except H) but you use L’ when it starts with a vowel or H (l’Histoire, l’algèbre, l’art), there is an old post about that.
L'ÉCOLE PRIMAIRE - from 2 to 11 years old LE COLLÈGE - from 11 to 15 LE LYCÉE - from 15 to 18 L'UNIVERSITÉ - from 18+
LE BREVET DES COLLÈGES - french students’ first exams, at the end of middle school (14-15 yo) LE BACCALAURÉAT (or BAC for short) - the exams students take at the end of high school UN ORAL - an oral exam UN EXAMEN - an exam UN CONTRÔLE - a test UNE DISSERTATION - the equivalent of an essay
LES MATHÉMATIQUES - maths LA PHYSIQUE-CHIMIE - physics and chemistry LES SCIENCES ET VIE DE LA TERRE - biology LA MUSIQUE - music LES ARTS PLASTIQUES - arts (it’s more like crafts tbh) LE FRANÇAIS / LA LITTÉRATURE - french or literature L’HISTOIRE / LA GÉOGRAPHIE - history / geography LES SCIENCES ÉCONOMIQUES ET SOCIALES - economics LA PHILOSOPHIE - philosophy L’EPS (ÉDUCATION PHYSIQUE ET SPORTIVE) / LE SPORT - sports
LA RENTRÉE - back to school UNE HEURE DE COLLE - detention LES FOURNITURES SCOLAIRES - school supplies LA PAPÉTERIE - stationary UN SAC OU UN CARTABLE - a bag or backpack UN CAHIER - a notebook UN CLASSEUR - a binder UNE TROUSSE - a pencil case UN AGENDA OU UN CAHIER DE TEXTE - a planner UN STYLO BILLE - a pen UN STYLO PLUME - a fountain pen UN CRAYON À PAPIER - a pencil UNE GOMME - an eraser UN TAILLE CRAYON - a pencil sharpener UN CRAYON DE COULEUR - a colouring pencil UN FEUTRE - a felt tip UNE RÈGLE - a ruler UNE PAIRE DE CISEAUX - scissors UNE COLLE - glue
verbes - verbs
ÉTUDIER - to study RÉVISER - to revise / review APPRENDRE - to learn ENSEIGNER - to teach TRAVAILLER - to work BOSSER - to work (familiar) BÛCHER - to study (familiar) ALLER EN COURS - to go to class PRENDRE DES NOTES - to take notes PASSER / SUBIR UN EXAMEN - to sit an exam
As the Wizarding World changed so too did its schools and academies. In the Magic Academy of Fine Arts in France students who wished to pursue a career in the arts were taught how to shape, apply and bend materials such as cloth, oils and clay to their will, breathing life into them, with the assistance of their skill and their magic.
In the isolated corners of the school the darkness lurked too. Students experimented with banned techniques such as the shaping of blood into sculptures frozen in time and the granting of life to fire and stone and marble.
Lois Mailou Jones (November 3, 1905 – June 9, 1998) was an artist who painted and influenced others during the Harlem Renaissance and beyond, during her long teaching and artistic career. Jones was the only African-American female painter of the 1930s and 1940s to achieve fame abroad, and the earliest whose subjects extend beyond the realm of portraiture. She was born in Boston, Massachusetts and is buried on Martha’s Vineyard in the Oak Bluffs Cemetery.
Her father Thomas Vreeland Jones was a building superintendent who later became a lawyer; her mother Carolyn Jones was a cosmetologist.
Jones’ parents encouraged her to draw and paint as a child in water color. During childhood her mother took her and her brother to Martha’s Vineyard where she became lifelong friends with novelist Dorothy West. She attended the High School of Practical Arts in Boston. Meanwhile she took Boston Museum of Fine Arts evening classes and worked as an apprentice in costume design. She held her first solo exhibition at the age of 17. From 1923 to 1927 she attended the School of the Museum of Fine Arts in Boston studying design, taking night courses at the Boston Normal Art School. She also pursued graduate work at the Design Art School and Harvard University. She continued her education even after beginning work, attending classes at Columbia University and receiving her bachelor’s degree from Howard University in 1945, graduating magna cum laude.
In 1928 she was hired by Charlotte Hawkins Brown after some initial reservations, and founded the art department at Palmer Memorial Institute in ]. As a prep school teacher, she coached a basketball team, taught folk dancing, and played the piano for church services. Only one year later, she was recruited to join the art department at Howard University in Washington D.C., and remained as professor of design and watercolor painting until her retirement in 1977. While developing her own work as an artist, she was also known as an outstanding mentor.
In 1934 Jones met Louis Vergniaud Pierre-Noel, who would become a prominent Haitian artist, while both were graduate students at Columbia University. They corresponded for almost twenty years before marrying in the south of France in 1953. Jones and her husband lived in Washington, D.C. and Haiti. They had no children. He died in 1982.
In the early 1930s Jones exhibited with the William E. Harmon Foundation and other institutions, produced plays and dramatic presentations and began study of masks from various cultures. In 1937 she received a fellowship to study in Paris at the Académie Julian. During one year’s time she produced over 30 watercolors. She returned to Howard University and began teaching watercolor painting. She said of her time in Paris:
The French were so inspiring. The people would stand and watch me and say ‘mademoiselle, you are so very talented. You are so wonderful.’ In other words, the color of my skin didn’t matter in Paris and that was one of the main reasons why I think I was encouraged and began to really think I was talented.
In 1938 she produced Les Fétiches (1938) a stunning, African inspired oil which is owned by the Smithsonian American Art Museum, Jones’ Les Fétiches was instrumental in transitioning 'Négritude'—a distinctly francophone artistic phenomenon—from the predominately literary realm into the visual. Jones’ work provided an important visual link to Négritude authors including Aimé Césaire, Léon Damas, and Léopold Sédar Senghor. It was one of her best known works, and her first piece which combined traditional African forms with Western techniques and materials to create a vibrant and compelling work. She also completed Parisian Beggar Woman with text supplied by Langston Hughes.
Her main source of inspiration was Céline Marie Tabary, also a painter, whom she worked with for many years. Tabary submitted Jones’ paintings for consideration for jury prizes since works by African-American artists were not always accepted. Jones traveled extensively with Tabary, including to the South of France, and they frequently painted each other. They taught art together in the 1940s.
In the 1940s and early 1950s Jones exhibited at the Phillips Collection, Seattle Museum of Art, National Academy of Design, the Barnet Aden Gallery, Pennsylvania’s Lincoln University, Howard University, galleries in New York and the Corcoran Gallery of Art. In 1952 Loïs Mailou Jones: Peintures 1937-1951, a collection of more than 100 reproductions of her French paintings, was published.
In 1954 Jones was a guest professor at Centre D'Art and Foyer des Artes Plastiques in Port-au-Prince, Haiti where the government invited her to paint Haitian people and landscapes. Her work became energized by the bright colors. She and her husband returned there during summers for the next several years, in addition to trips to France. There she completed “Peasant girl, Haiti” and also exhibited her work. In 1955 she unveiled portraits of the Haitian president and his wife commissioned by United States President Dwight D. Eisenhower.
Jones’s numerous oils and watercolors inspired by Haiti are probably her most widely known works. In them her affinity for bright colors, her personal understanding of Cubism’s basic principles, and her search for a distinctly style reached an apogee. In many of her pieces one can see the influence of the Haitian culture, with its African influences, which reinvigorated the way she looked at the world. These include Ode to Kinshasa and Ubi Girl from Tai. Her work became more abstract and hard-edged, after her marriage to Pierre-Noel. Her impressionist techniques gave way to a spirited, richly patterned, and brilliantly colored style.
In 1962 she initiated Howard University’s first art student tour of France, including study at Académie de la Grande Chaumière and guided several more tours over the years. In the 1960s she exhibited at School of the Museum of Fine Arts, Boston, Cornell University, and galleries in France, New York and Washington, D.C.
In 1968 she documented work and interviews of contemporary Haitian artists for Howard University’s “The Black Visual Arts” research grant. And continued the project in 1969 and 1970, traveling to eleven African countries. Her report Contemporary African Art was published in 1970 and in 1971 she delivered 1000 slides and other materials to the University as fulfillment of the project. In 1973-74 she researched “Women artists of the Caribbean and Afro-American Artists.”
Her research inspired Jones to synthesize a body of designs and motifs that she combined in large, complex compositions. Jones’s return to African themes in her work of the past several decades coincided with the black expressionistic movement in the United States during the 1960s. Skillfully integrating aspects of African masks, figures, and textiles into her vibrant paintings, Jones continued to produce exciting new works at an astonishing rate of speed, even in her late eighties. In her nineties, Jones still painted. Bill Clinton and Hillary Clinton collected one of her island seascapes Breezy Day at Gay Head while they were in the White House.
Jones felt that her greatest contribution to the art world was “proof of the talent of black artists.” The African-American artist is important in the history of art and I have demonstrated it by working and painting here and all over the world.“ But her fondest wish was to be known as an "artist"—without labels like black artist, or woman artist. She has produced work that echoes her pride in her African roots and American ancestry.
Lois Mailou Jones’ work is in museums all over the world and valued by collectors. Her paintings grace the permanent collections of the Metropolitan Museum of Art, National Museum of American Art, Hirshhorn Museum and Sculpture Garden, National Portrait Gallery, Boston Museum of Fine Arts, the National Palace in Haiti, the National Museum of Afro-American Artists and many others.
Non sans avoir préalablement rappelé quelques vérités d’ordre musicologique sur le silence et le bruit, le critique Lester Bangs énumère ses condensés d’électricité favoris dans un article du Village Voice datant de 1981. Y sont célébrés des classiques tels que « L.A. Blues » des Stooges, Vincebus Eruptum de Blue Cheer et Metal Machine Music de Lou Reed évidemment, mais aussi des disques alors aussi peu connus que ceux des Germs, de Jad Fair, de Teenage Jesus And The Jerks, de Mars et A Taste Of DNA – soit, pour les trois derniers, des combos no wave s’attaquant de front à la complaisance du rock américain squattant les ondes dans les années 1970. En fait peu de précédents à ce mouvement salvateur existaient, en dehors de l’album Trout Mask Replica dans lequel Captain Beefheart avait tordu le cou du rock en inventant une grammaire nouvelle ayant essaimé dans les marges. Appartenant au cercle fermé des formations compilées sur le légendaire No New York concocté par Brian Eno, le trio DNA s’est construit autour du guitariste chanteur Arto Lindsay. Dans un premier temps, Robin Crutchfield y tint les claviers avant d’être remplacé par l’ex-bassiste de Pere Ubu, Tim Wright, tandis que la Japonaise Ikue Mori, à la batterie, s’imposait comme l’héritière de Moe Tucker au sein du Velvet Underground, grâce à une technique rudimentaire mélangeant batucada et kabuki. Porté par des rythmiques primitives et constamment mouvantes, Arto Lindsay inventa en leur compagnie une poignée de chansons brèves pour la plupart compilées sur DNA On DNA, et qui ressemblent toutes à de faux départs sur les chapeaux de roues. Ici l’approche distanciée découle du fait que l’on a affaire à des non-musiciens (comme dirait Eno), venus à la musique par le biais des arts plastiques, et qui par exemple se reconnaissaient dans Fluxus. Sans modèle, Arto Lindsay maltraita donc une Danelectro douze cordes, à force de moulinets à contre-courant des arpèges et carillons en général tirés de cet instrument. D’ailleurs, tous les guitaristes de la no wave, souvent des filles, jouaient bizarrement, dans un style leur appartenant en propre (citons Pat Place au sein des Contortions, ou Conny Burg dans Mars). Si DNA laisse peu d’enregistrements, tous se révèlent rétrospectivement essentiels, avec leur mélange de free jazz et de syncopes psychotiques digne d’un Talking Heads sous amphétamines et décharné. A propos d’Ikue Mori, Lester Bangs (encore lui) parlera d’un Sunny Murray puissance dix (batteur free culte) avant d’exprimer combien il aurait aimé, au moment où le groupe sévissait, qu’un Albert Ayler soit encore là et joue avec eux.
Aujourd’hui nul besoin d’aller à l’université, de se balader avec son portfolio, de faire de la lèche aux galeries et leurs nuées de prétentieux, pas besoin non plus de coucher avec quelqu’un d’influent. Tout ce qu’il vous faut c’est quelques idées et une connexion haut débit. Pour la première fois le monde bourgeois de l’art appartient au peuple. Il s’agit d’en faire quelque chose.