Saturday, 28 April 2018

Andorra 1944 - Definitives (Part 2)

It was built in 1580 by the Busquet family in Andorra la Vella, the capital of Andorra. The "House of the Valley", or in Catalan, which happens to be the official language of Andorra, La Casade la Vall. Constructed in a rectangular fashion, the building includes a dovecote, which served as a defense tower and gives the complex the appearance of a small fortress.

In 1702 the house was acquired by the Consell de la Terra "Council of the Earth", which is an assembly comprising representatives of all the valleys. Once acquired, several areas of the house were converted to suit its new purpose more adequately. For example, the first floor became the new council chamber, in which was placed the "cabinet with seven keys". It takes this name "because it has seven locks each of whose keys is the property of the parishes of Andorra, and contain historical documents of the principality like the Manual Digest" (Wikipedia).

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Between 1944 and 1947 Andorra issued a stunning set of twenty definitive stamps. The set includes four different designs, all engraved by Achille Ouvré. In this blog we shall study the second design in this set, depicting the House of the Valley. To study the first design, click HERE. It was designed and engraved by Achille Ouvré. This design was printed in five values, each with its own unique colour. All but one value, the 2,50f, which was issued in 1946, were issued in 1944. So let's now turn to the stamps. And I have to say,  I love this composition. There are so many areas of interest. The cottage and perimeter wall at the bottom right. The tiny minaret-like structure jutting from the corner of the building at the centre of the stamp. And in the background we are given a glimpse of the tower, behind which looms a stunning mountain range. 






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Above I listed some of the key features I admire in this design. In fact, I believe each aspect deserves its very own close-up. For the purpose of these close-ups I have chosen to use the 3f brown-black, which is think showcases the details best.




Until next  time...


Wednesday, 25 April 2018

Andorra 1944 - Definitives (Part 1)

Constructed in the 11th century or possibly as late as the 12th century, the church of Saint Joan de Caselles (L’église Sant Joean de Caselles) is a stunning example of Andorran Romanesque art. The church is located in Canillo in the North-East of Andorra.

Upon entering the church one will immediately note its Romanesque church style: from the rectangular nave with wooden roof to the semicircular apse and Lombard style bell tower. And if you love to study interior decoration, this church won't disappoint on that front either. Perhaps one  of the most important pieces is the remains of a 12th century stucco depicting Christ. Around the stucco is a beautiful mural scene depicting the crucifixion with Longinus (the name given to the soldier who pierced Christ in his side with a spear) and Stefaton (the name given to the soldier who offered Christ a wine-soaked sponge), accompanied by the sun and the moon. If one were to venture beyond the gate behind the altar, you would be delighted to discover a magnificent altarpiece, depicting the life and martyrdom of Saint John, author of the Apocalypse (Revelations) and patron saint of the church. This altarpiece was influenced by the Italian and German Renaissance. 

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Between 1944 and 1947 Andorra issued a stunning set of twenty definitive stamps. The set includes four different designs, all engraved by Achille Ouvré. In this blog we shall study the first design in this set, depicting the church of Saint Joan de Caselles. It was designed and engraved by Achille Ouvré. This design was printed in four values, each with its own unique colour. And all four values were issued in 1944.








I love the composition of this design. Ouvré has chosen an excellent angle to showcase the ruined church nestled in the surrounding mountains. In the foreground stands a person, perhaps a caretaker and a weary traveller. dominating the left of the design is the church's striking bell tower. Beautiful. I can't wait to explore the rest of Ouvré's work on this series. Stay tuned!

Until next time...


Monday, 16 April 2018

France 1951 - Modern Poets (Part 3)

"I'm now making myself as scummy as I can. Why? I want to be a poet, and I'm working at turning myself into a seer. You won't understand any of this, and I'm almost incapable of explaining it to you. The idea is to reach the unknown by the derangement of all the senses. It involves enormous suffering, but one must be strong and be a born poet. It's really not my fault." (Jean Nicolas Arthur Rimbaud, 1871. Wikipedia)
Some people turn to writing and expressing their deepest emotions with the power of words later in life, their copious experiences their thesaurus. In others, the spark is lit early in life, burns bright, then is snuffed out. 

Jean Nicolas Arthur Rimbaud, born 20 October 1854, started writing from a very young age, and it was quickly obvious he was a gifted poet. He was an excellent student, but perhaps stymied in the world of academia, he ran away to Paris as a teenager during the Franco-Prussian War. It was during this time that the words poured from his soul and he wrote many works of poetry, a lot of which was assembled in the book titled, Illuminations. Then inextricably, he completely stopped writing at the age of 21. He spent the rest of his brief life exploring several continents as a merchant. Tragically, he died of cancer just after his 37th birthday on 10 November 1891.   .

Rimbaud was known as quite a restless soul who loved hard and played harder. In 1871 Rimbaud had a torrid love affair with fellow poet Paul Verlaine (see Part 2 of this series for information on Verlaine). The next few years was a wild ride for the pair, spiced with absinthe, opium and hashish. Yet during this time Rimbaud still churned out the poetry, including one of his major works, A Season in Hell. Rimbaud is best known for his work with Symbolism and helping to ignite the flame of Surrealism. 

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On 27 October 1951, France issued a set of three stamps celebrating modern French poets. The 15f value of the set depicts Jean Nicolas Arthur Rimbaud. This stamp was designed by Paul-Pierre Lemagny and engraved by Gabriel-Antoine Barlangue. It is worth mentioning that the portrait of Rimbaud used in this stamp was based on a portrait by Henri Fantin Latour.. 


The turbulent nature of this composition seems to mirror the wild life of Rimbaud. In the foreground we are faced with a youthful Rimbaud. His sits pensive, with hand on chin, perhaps ruminating over his next masterpiece. At the back left of the composition waterspouts (tornadoes on land) abound. Adrift in the churning maelstrom, a direct reflection of the poet's life, is a hapless ship, adrift, in dire need of respite. Behind the poet's shoulder to the right we see towering, snow-capped mountains and some butterfly-like creatures gamboling to some poetic tune only they can hear. In conclusion, what an awesome stamp!

Until next time...


Sunday, 8 April 2018

France 1951 - Modern Poets (Part 2)

It can ignite our deepest passions. It can awaken such emotional beasts as sadness and despair. It enables us to live vicariously through the magical use of words, whether in metre or rhyme. This is Poetry.

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Paul-Marie Verlaine, born 30 March 1844, was a French poet whose work is associated with the Decadent movement. The Decadent movement was, at the time of Verlaine, a shattering new style with lurid themes such as self-disgust, general skepticism, delight in perversion, crude humor, and a belief in the superiority of human creativity over logic and the natural world. Indeed, this movement was considered the fin de siècle or turn of the century movement.

Verlaine considered himself, along with a host of contemporary poets such as Stéphane Mallarmé, Arthur Rimbaud, Aloysius Bertrand, Comte de Lautréamont, and Alice de Chambrier, to be a poète maudit "cursed poet". He and the other poets mentioned were scorned by critics for their new, brash style of poetry. But in 1886, just two years after calling himself a cursed poet, opinions were to change based on the publication of Jean Moréas' Symbolist Manifesto. This book introduced the idea of symbolism, and suddenly Decadent poetry and all its subtleties began to make some sense. Now Verlaine and other poets were being termed "Symbolists". Verlaine's work studied the notions of human will, fatality. the power of unconscious forces, and - quite radically - the theme of sex in various forms, including with prostitutes. Themes associated with delirium triggered by narcotics and alcohol were also to be found.

Despite the use of such strong themes, Verlaine pointed out the need for subtle suggestion as opposed to brutal statement. His purpose was "to evoke moods and feelings through the magic of words..." (Wikipedia). Verlaine actually described his style - this "turn  of the century" style - in great detail in his poem Art Poétique. He stresses the importance of musicality and elusiveness. Further, he stresses:
"Keep away from the murderous Sharp Saying, Cruel Wit, and Impure Laugh." 
As was the case with so many artistic minds of this era, Paul Verlaine was addicted to drugs and alcohol. In his later years he lived in the slums of Paris and public hospitals. He was often seen in cafes drowning his sorrows with copious glasses of absinthe. His drug and alcohol abuse finally got the better of him. He died in Paris at the age of 51 on 8 January 1896. 

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On 27 October 1951, France issued a set of three stamps celebrating modern French poets. The 12f value of the set depicts Paul-Marie Verlaine. This stamp was designed by Paul-Pierre Lemagny and engraved by Charles-Paul Dufresne. You will note that  the stamp featured in Part 1 of this series was also designed by Paul-Pierre Lemagny. An immensely talented designer. It is worth mentioning that the portrait of Verlaine used in this stamp was based on a portrait by Eugène Carrière.


The composition of this stamp is fantastic.I love the way Verlaine stares directly at us, the viewer, as if ruminating on a new piece of poetic elusive symbolism. The design is also packed with stunning minute detail. Dufresne has done a masterful job in rendering the abundant flora to the left of the stamp. I particularly like, being a fan of engraved beards, the copious beard and moustache of Verlaine. In all, a brilliant composition. See below for a couple of close-ups.

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Until next time...