{"id":44,"date":"2009-05-26T19:25:21","date_gmt":"2009-05-26T17:25:21","guid":{"rendered":"http:\/\/www.claude-arnaud.com\/fr\/?page_id=44"},"modified":"2023-04-23T18:11:37","modified_gmt":"2023-04-23T17:11:37","slug":"cocteau-a-letranger-cocteau-abroad","status":"publish","type":"page","link":"https:\/\/www.claude-arnaud.com\/fr\/biographies\/la-quatrieme-de-couverture\/cocteau-a-letranger-cocteau-abroad","title":{"rendered":"Cocteau : abroad\/ \u00e0 l’\u00e9tranger"},"content":{"rendered":"
\"\"Foreign rights<\/strong> :<\/span> Anne-Solange Noble, GALLIMARD<\/strong>. Phone: 00331 49544356,<\/strong><\/span><\/h6>\n
fax: 00331 45449403<\/strong><\/span>, e-mail :<\/strong><\/h6>\n
anne-solange.noble@gallimard.fr<\/a><\/strong><\/h6>\n
A l\u2019\u00e9tranger aussi, les r\u00e9actions \u00e0 Ce \u00ab\u00a0Cocteau\u00a0\u00bb<\/span> ont \u00e9t\u00e9 enthousiastes<\/strong> <\/span><\/h6>\n
\"\"\u00ab Un biographe a r\u00e9solu l\u2019\u00e9nigme<\/strong> de ce sphinx<\/span> aux mille secrets<\/strong>. Claude Arnaud<\/strong><\/span>, il faut le proclamer tr\u00e8s haut<\/strong>, a men\u00e9 une gigantesque enqu\u00eate \u00e0 son propos, et en a tir\u00e9 un livre magistral\u2026(qui) se lit comme un roman<\/span><\/strong> \u00bb. Jacques de Decker<\/strong><\/span>, Le Soir<\/strong><\/em> (Bruxelles) 10.09.2003.<\/h6>\n
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D\u2019une minutie d\u2019arch\u00e9ologue assyrien<\/strong> dans le relev\u00e9 des variations et m\u00e9andres d\u2019un esprit en perp\u00e9tuelle \u00e9volution<\/span><\/strong><\/span>, (Claude Arnaud<\/strong><\/span>) parvient \u00e0 reconstituer ses \u00e9tats d\u2019\u00e2me comme s\u2019il savait mieux que lui ce que Cocteau<\/span> avait pu \u00e9prouver et penser<\/strong> \u00bb. Jacques Frank<\/strong><\/span>, Libre Belgique<\/strong><\/em>, 25.06.2004 & 29.08.2003.<\/h6>\n<\/blockquote>\n
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\"\"\u00ab En se gardant de l\u2019hagiographie, Claude Arnaud<\/strong><\/span> a le grand m\u00e9rite, dans une enqu\u00eate biographique extr\u00eamement fouill\u00e9e \u00e0 valeur de fresque d\u2019\u00e9poqu<\/span><\/strong>e<\/span>, de nous montrer patiemment (\u2026) en quoi r\u00e9side la valeur effective de l\u2019\u00e9crivai<\/strong>n \u00bb.Jean-Louis Kuffer<\/strong><\/span>, 24 Heures<\/strong> <\/em>(Suisse), 11.10.2003<\/strong>.<\/h6>\n
\"\"\u00ab Un ouvrage remarquable<\/strong><\/span>\u2026une approche compr\u00e9hensive<\/strong>, d\u00e9licate<\/span><\/strong> et juste<\/strong> \u00bb. Robert L\u00e9vesque<\/strong><\/span>, Ici<\/em>,<\/strong> Montr\u00e9al, 16.10.2003. Pour lire l’article en ligne que ce critique a donn\u00e9 \u00e0 la revue Les Libraires…<\/a>\u00a0<\/span>\u00ab J\u2019ai ador\u00e9 ce portrait d\u2019une \u00e9poque \u00bb. Bernard Robitaille<\/strong><\/span>, en d\u00e9cernant ***** au livre in La Presse<\/strong><\/em>, Montr\u00e9al, 19.10.2003.\u00a0 Pour lire l\u2019article en ligne de T.Malavoy-Racine<\/strong><\/span> dans Voir<\/em>\u2026 <\/a>\u00ab\u00a0En refermant ce monument<\/span><\/strong> auquel Claude ARNAUD<\/strong><\/span> a consacr\u00e9 quatre ann\u00e9es d’un travail minutieux, on a l’impression d’avoir non seulement appris \u00e0 mieux comprendre l’oeuvre<\/span> d’un surdou\u00e9 prolifique<\/span><\/strong>, mais aussi refait avec lui, quarante ans apr\u00e8s sa disparition, l’exp\u00e9rience de la confrontation \u00e0 son destin<\/span>\u00ab\u00a0<\/strong>, \u00e9crit Jean Claude GAGNON<\/strong> sur le site de la revue Qu\u00e9bec fran\u00e7ais<\/em>. Pour trouver ce livre au Canada<\/a>… …et encore…<\/a><\/h6>\n
\"\"\u00ab Truff\u00e9e d\u2019anecdotes savoureuses, l\u2019\u0153uvre se lit avec autant de plaisir que de facilit\u00e9<\/strong> \u00bb. Eddy Batache<\/strong><\/span>, Cedrus Libani<\/strong><\/em> n\u00b068, Beyrouth, oct.2003. Pour trouver ce livre au Liban…<\/a><\/h6>\n
\"\"<\/a>*ET en<\/strong> tunisie<\/strong>, via la <\/span>librairie Al kitab<\/a>\u2026<\/h6>\n
\"\"<\/a>*POUR TROUVER CETTE BIOGRAPHIE<\/strong><\/span> AU PORTUGAL<\/a>… Ou encore<\/a>…<\/h6>\n
…ET AU BRESIL<\/a>…\u00a0\u00bb <\/a>A ideia da escrita biogr\u00e1fica como ato de devora\u00e7\u00e3o antropof\u00e1gica \u00e9 de Claude Arnaud<\/span>, bi\u00f3grafo de Jean Cocteau, scrive Lira Neto im Diario do Nordeste: \u201cDevoro a l\u00edngua e o tutano, o cora\u00e7\u00e3o e os miolos [do biografado]. Depois desse festim, sei mais sobre ele do que sobre aqueles e aquelas com quem convivi\u201d. Por sua vez, foi Roger Dadoun<\/span>, bi\u00f3grafo de Freud, quem prop\u00f4s a imagem do escritor de biografias como algu\u00e9m que tenta se apossar do biografado, mas, em meio \u00e0 complexidade da empreitada, acaba por ser possu\u00eddo por ele<\/span> \u2013 tornando-se seu hospedeiro. \u201cComo tudo que vai e volta, a possess\u00e3o se exerce igualmente em sentido contr\u00e1rio, numa rela\u00e7\u00e3o de reciprocidade\u201d. As met\u00e1foras de Cocteau e Dadoun<\/span>, a respeito da biografia como festim antropof\u00e1gico e ritual de possess\u00e3o<\/a>…<\/h6>\n
\"\"<\/a><\/h6>\n<\/blockquote>\n
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\"\"\"\"Deutschspr\u00e4chen Lander<\/strong><\/h6>\n<\/blockquote>\n
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\u00ab Eine monumentale Biographie \u00bb. Joseph Hanimann<\/span>, Frankfurter Allgemeine Zeitung<\/strong><\/em>, 16. 10. 2003.<\/h6>\n
\"\"<\/a>\u00ab\u00a0UNE BIOGRAPHIE monumentale<\/span><\/strong>\u00ab\u00a0, joseph hanimann,\u00a0FRANKFURTER ALLGEMEINE ZEITUNG<\/strong><\/em>, 16. 10. 2003.<\/h6>\n<\/blockquote>\n
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\"\"\u00ab Ungleich zeitaufwendiger, aber auch ungleich lohnender ist da die Lekt\u00fcre von Claude Arnauds<\/strong><\/span> neuer Biografie \u2013 der ersten seit dreissig Jahren und wie die Ausstellung eine Hommage zu Cocteaus<\/span> <\/strong>40. Todestag. Der Schriftsteller une Literaturkritiker weiss seine sp\u00fcrbare Empathie durch einen sanften, oftmals k\u00f6stlich ironischen Humor zu temperieren un einen genuin literarischen Stil mit akribischer Dokumentation zu verbinden. Untr\u00fcgliches Zeichen : Die Lekt\u00fcre fesselt von der ersten bis zur lezten Seite. Cocteaus<\/span><\/strong> Vita erscheint als ein eigentlicher Roman, als eine pikareske Folge von Begegnungen mit schr\u00e4gen und\/oder schillernden Figuren \u00fcber dem Basso continuo eines febrilen existenziellen Unwohlseins. \u00bb Marc Zitzmann<\/strong><\/span>, Neue Z\u00fcrcher Zeitung<\/strong><\/em>, 22.10.2003.<\/h6>\n
*\u00ab UMSO EMPFEHLENSWERTER IST ALS KORREKTIV ZU DIESER AUF ZUSAMMENH\u00c4NGE WEITGEHEND VERZICHTENDEN LEISTUNGSSCHAU DIE BRILLANTE BIOGRAFIE VON<\/span><\/strong>\u00a0CLAUDE ARNAUD<\/strong>,<\/span> DER AUF \u00dcBER 800 SEITEN DIESES LEBEN EINES RUHELOSEN, IN ZAHLLOSEN MESKEN AUFTRETENDEN PROTEUS NACHZEICHNET UND GLEICHZEITIG EINE FASZINIERENDE GESCHICHTE DES FRANZ\u00d6SISCHEN K\u00dcLTURLEBENS ZWISCHEN<\/span> 1910 UND 1960 VERFASST HAT<\/strong> \u00bb.\u00a0ALEXANDER SURY<\/strong><\/span>,\u00a0DER BUND<\/strong><\/em>\u00a0(SCHWEIZ), 01.11.2003.<\/h6>\n
\"\"<\/a>*\u00abla lecture de la nouvelle biographie de cocteau par claude arnaud<\/span><\/strong>, la premi\u00e8re depuis trente ans, et la fa\u00e7on dont l’exposition (du centre pompidou) rend hommage \u00e0 Cocteau<\/strong>, 40 ans apr\u00e8s sA MORT, ne prend pas le m\u00eame temps, mais est aussi autrement gratifiante<\/span><\/strong>. L’\u00e9crivain et critique litt\u00e9raire sait temp\u00e9rer son empathie palpable<\/strong> avec un humour doux, souvent d\u00e9licieusement ironique,<\/strong><\/span> et combiner un style v\u00e9ritablement litt\u00e9raire avec une documentation m\u00e9ticuleuse. Crit\u00e8re incomparable: la lecture captive de la premi\u00e8re \u00e0 la derni\u00e8re page.<\/strong> la vie de Cocteau appara\u00eet comme un roman vrai,<\/span> une suite picaresque de rencontres avec des figures obliques et\/ou iris\u00e9es sur la basse continue d’un mal-\u00eatre existentiel fait de f\u00e9brilit\u00e9.\u00a0<\/span>\u00ab\u00a0MARC ZITZMANN<\/strong>,\u00a0NEUE Z\u00dcRCHER ZEITUNG<\/strong><\/em>, 22.10.2003.<\/span><\/strong><\/h6>\n
\"\"*D’AUTANT\u00a0PLUS\u00a0RECOMMANDABLE\u00a0EST\u00a0LA\u00a0BRILLANTE\u00a0BIOGRAPHIE\u00a0DE<\/span> CLAUDE ARNAUD<\/strong>, QUI RETRACE SUR PLUS DE 800 PAGES CETTE VIE D’UN\u00a0PROT\u00c9e\u00a0AGIT\u00c9\u00a0APPARAISSANT\u00a0sous\u00a0D’INNOMBRABLES\u00a0Masques<\/span><\/strong> ET qui est EN M\u00caME TEMPS\u00a0UNE\u00a0HISTOIRE\u00a0FASCINANTE\u00a0De la vie cuLTURelle fran\u00e7aise\u00a0<\/span>FRAN\u00c7AIS\u00a0ENTRE\u00a01910\u00a0ET\u00a01960<\/strong>\u00ab\u00a0.\u00a0ALEXANDER SURY<\/strong><\/span>,\u00a0DER BUND<\/strong><\/em>\u00a0, 01.11.2003\"\"<\/h6>\n<\/blockquote>\n
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\"\"*Leisen ein Auszung<\/strong><\/span> : \u00ab\u00a0Die w\u00e4hrend des Krieges wiederentdeckten M\u00e4rchen begl\u00fcckten Cocteau mehr denn\u00a0 je. Es war ein wahrhaft sinnlicher, geradezu f\u00f6taler Lesegenuss, nicht allein weil man durch\u00a0 die M\u00e4rchen in die Kindheit zur\u00fcckversetzt wurde, sondern weil in ihnen alles Leben vom\u00a0 Wunderbaren umflutet war. Katern war es m\u00f6glich in Marquiskleidern umherzustolzieren,\u00a0 und ungeliebten Prinzessinnen f\u00fcr eine kleine Ewigkeit in Schlaf zu versinken, bevor sie noch\u00a0 bl\u00fchender wieder aufwachten, als sie es zum Zeitpunkt ihres Dahinschlummerns gewesen\u00a0 waren. Menschen und Tiere waren mit\u00a0 geheimnisvollen F\u00e4higkeiten ausgestattet und verf\u00fcgten \u00fcber jene Verwandlungsgabe, die auch sein eigenes Leben gewisserma\u00dfen zum M\u00e4rchen\u00a0 gemacht hatte, ohne dass man ihnen aber deswegen je den geringsten Vorwurf machte: Welches Land konnte es mit diesem Reich aufnehmen, in dem es ganz kleine D\u00e4umlinge dank\u00a0 einer Mischung aus List und Arglosigkeit fertig brachten, furchterregende Menschenfresser zu\u00a0 erschlagen. Solche Geschichten hatten noch einen weiteren Vorteil: Sie waren fr\u00f6hlich und\u00a0 stimmten heiter. Sosehr die Mythen eine pessimistische und aristokratische Sicht der Welt an\u00a0 den Tag legen, sosehr nehmen die M\u00e4rchen und Sagen rasch eine optimistische und demokratische Wendung. Sie zeigen Sch\u00e4ferinnen, die Prinzen ehelichen, Kinder, die ihre Eltern retten, und einfache Bauern, die sich in gro\u00dfe Kammerherren verwandeln. Das Au\u00dfergew\u00f6hnliche offenbart sich dort auf die allernat\u00fcrlichste Weise, und Entsetzliches selbst wird zu Wunderbarem; unverg\u00e4ngliche Liebe, ewige Schw\u00fcre, stets belohnte Anmut und Liebensw\u00fcrdigkeit: hier gab es alles, was dieses sechsundf\u00fcnfzigj\u00e4hrige Kind\u00a0 begeistern konnte.\u00a0\u00a0 Ein kurzes M\u00e4rchen von Mme Leprince de Beaumont erweckte in ihm die Lust, sich\u00a0 wieder dem\u00a0 Film zuzuwenden. Es erz\u00e4hlte vom traurigen Leben eines m\u00e4chtigen aber h\u00e4sslichen Biestes, das zur\u00fcckgezogen in einem von W\u00e4ldern umgebenen Palast lebt, und vom\u00a0 nicht minder traurigen Schicksal eines armen und h\u00fcbschen Aschenputtels, das dem Neid seiner h\u00e4sslichen \u00e4lteren Schwestern ausgesetzt ist und sich schlie\u00dflich in das Reich des Biestes\u00a0 begibt, um ihren geliebten Vater vor dem Tod zu retten, den es nach Abschluss eines ruin\u00f6sen\u00a0 Gesch\u00e4fts dorthin verschlagen hat. Dem Biest gelingt es, durch sein Leiden das Herz der\u00a0 Sch\u00f6nen zu erweichen; und bald liebt sie selbst es so sehr, dass sich das auss\u00e4tzige Gesch\u00f6pf\u00a0 in einen bet\u00f6renden M\u00e4rchenprinzen verwandelt. Aber um \u201eDie Sch\u00f6ne und das Biest\u201c, dieses\u00a0 \u201eM\u00e4rchen ohne M\u00e4rchenfee\u201c, zu verfilmen, musste man jenen Schl\u00f6ssern und Ungeheuern,\u00a0 die nach kindlicher Vorstellung gewaltig sind, eine Gestalt geben, ohne dabei die Vorstellungskraft zu entt\u00e4uschen, noch die Skepsis einer Kultur zu wecken, der \u00dcberschw\u00e4nglichkeit\u00a0 oder Naivit\u00e4t fremd sind und die gew\u00f6hnlich nur den durchdachten, gewollten und wohl\u00a0 \u00fcberlegten Werken Bewunderung entgegenbringt: Kurz nach Kriegsende war Frankreich jedoch weniger denn je ein Land f\u00fcr Kinder.\u00a0\u00bb<\/h6>\n
(Un grand merci aux correcteurs de l’\u00e9preuve de th\u00e8me de l’agr\u00e9gation d’allemand de 2005<\/span>, qui ont propos\u00e9 cette traduction en ligne d’un passage de cette biographie de cocteau, intitul\u00e9 \u00ab\u00a0le prince et le l\u00e9preux\u00a0\u00bb, p. 644\/645<\/span><\/strong><\/span>)<\/h6>\n<\/blockquote>\n
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\"\"*in ITALIA<\/strong>\u00a0: \u00ab Con il suo splendido, monumentale<\/strong><\/span> Jean Cocteau<\/strong><\/em>, Claude Arnaud<\/strong><\/span> ha, infatti, realizzato un autentico tour de\"\"<\/span><\/a> force<\/span> letterario<\/strong> e, grazie al suo triplice talento di biografo, di critico<\/span> et di narratore<\/strong> (\u2026) \u00e8 riuscito a raccontare, attraverso la storia di une vita, quella di un secolo<\/strong><\/span> \u00bb. Benedetta Craveri<\/strong><\/span>, intorno a una intervista A\u00a0C. ARNAUD<\/strong><\/span>, La Repubblica<\/strong><\/em>, 24.08.2003.<\/h6>\n<\/blockquote>\n
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\u00ab Il protagonista assoluto<\/span> dell\u2019autunno culturale francese<\/strong> \u00bb. Anna Tito<\/strong><\/span>, L\u2019Unit\u00e0<\/strong><\/em>, 11.10.2003.<\/h6>\n<\/blockquote>\n
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\u00ab 800 pagine che scivolano via come un romanzo<\/strong><\/span> \u00bb. Massimo Nava<\/strong><\/span>, Corriere della Sera<\/strong><\/em>, 12.10.2003.<\/h6>\n<\/blockquote>\n
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\u00ab\u00a0Une biografia definitiva<\/strong>\u00ab\u00a0. Felice Piemontese<\/strong><\/span>, Il Mattino<\/strong><\/em>, 20.10.2003.<\/h6>\n<\/blockquote>\n
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\u00ab Con questa biografia, Claude ARNAUD<\/strong><\/span> ha scritto il vero romanzo della vita di Cocteau<\/strong> \u00bb. Carlo Jansiti<\/strong><\/span>, Babilonia<\/strong><\/em>, dicembre 2003.<\/h6>\n
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\"\"<\/a>*dans la presse ITALIenne<\/span><\/strong>\u00a0: \u00ab avec son SPLENDIDe<\/span> et MONUMENTAL<\/strong>\u00a0JEAN COCTEAU<\/strong><\/span><\/em>,\u00a0CLAUDE ARNAUD<\/strong>\u00a0a accompli UN\u00a0AUTHENTIque TOUR DE\u00a0FORCE LiTT\u00e9Raire<\/span>.\u00a0<\/strong>GRAcE A SOn TRIPLE TALENT DE BIOGRAphe, De CRITIque<\/span> ET De romancier<\/strong> (\u2026) il a Reussi A RACONTeR,\u00a0A TRAVERS L’hiSTOire D’UNE Vie, celle D’UN Si\u00e8cle<\/span><\/strong>\u00a0<\/span>\u00bb.\u00a0BENEDETTA CRAVERI<\/strong>, dans une INTERView que lui a accord\u00e9\u00a0Claude ARNAUD<\/strong><\/span>,\u00a0LA REPUBBLICA<\/strong><\/em>, 24.08.2003.<\/h6>\n<\/blockquote>\n
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\u00ab\u00a0le\u00a0PROTAGONISTe AbSOLU<\/span> DE L\u2019AUTomNe CULTURel FRAN\u00e7ais\u00a0\u00bb<\/strong><\/span>. ANNA TITO<\/strong>,\u00a0L\u2019UNIT\u00c0<\/strong><\/em>, 11.10.2003.<\/h6>\n<\/blockquote>\n
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\u00a0\u00ab\u00a0800 PAGes qui filent<\/span> COMmE UN ROMAN\u00a0\u00bb<\/strong><\/span>.\u00a0MASSIMO NAVA<\/strong>,\u00a0CORRIERE DELLA SERA<\/strong><\/em>, 12.10.2003.<\/h6>\n<\/blockquote>\n
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\u00ab\u00a0UNE BIOGRAphie D\u00e9FINITIVe\u00a0\u00bb<\/strong>.\u00a0FELICE PIEMONTESE<\/strong><\/span>,\u00a0IL MATTINO<\/strong><\/em>, 20.10.2003.<\/h6>\n<\/blockquote>\n
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\u00ab\u00a0avec cette BIOGRAphie,\u00a0CLAUDE ARNAUD<\/strong><\/span>\u00a0A \u00e9crit le ROMAN vrai<\/span> DE LA VIe de COCTEAU<\/strong>\u00a0\u00bb.\u00a0CARLO JANSITI<\/strong>,<\/span>\u00a0BABILONIA<\/strong><\/em>, D\u00e9CEMBRE 2003.<\/h6>\n<\/blockquote>\n<\/blockquote>\n

\"\"<\/a>*IN THE US\u00a0<\/span><\/strong><\/h3>\n
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\"\"\u00ab By displaying a large selection of his works without fully explaining his life<\/strong>, The Pompidou (exhibition) leaves viewers in need of a compass : help is provided by \u00ab Jean Cocteau<\/em><\/span> \u00bb, a new 864 pages biography by<\/strong> Claude Arnaud<\/strong><\/span>. \u00bb Alan Riding<\/strong><\/span>, New York Times<\/strong><\/em>, 5.10.2003. read this article…<\/a><\/h6>\n<\/blockquote>\n
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\u00a0\u00bb\u00a0Claude Arnaud<\/span>‘s superb biography<\/strong>, Jean Cocteau<\/em> (Gallimard, 2003) … deserves an English translation\u00a0\u00bb. Ian Buruma<\/span>, \u00ab\u00a0OCCUPIED PARIS, THE SWEET AND THE CRUEL\u00a0\u00bb, New York Review of Books<\/span><\/em><\/strong>, vol. 56, n\u00b0 20, 17.11.2009<\/strong>. read this article…<\/a><\/h6>\n
*get that book<\/strong><\/span> in the US…<\/a> Or through abebooks<\/a>… AS WELL AS THROUGH ALBERTINE bookshop, NYC<\/a>…<\/h6>\n
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\"\"<\/a><\/h6>\n

*AUX ETATS-UNIS<\/span><\/strong><\/h3>\n
\u00ab EN pr\u00e9sentant une LARGE SELECTION de son oeuvre sans r\u00e9ellement EXPliquer sa vie<\/span><\/strong>, l’exposition du centre POMPIDOU<\/strong><\/span> laisse le visiteur en manque de rep\u00e8res<\/strong> : il les trouvera dans\u00a0\u00ab JEAN COCTEAU<\/em><\/span> \u00bb, une biographie de 864 PAGES de<\/strong>\u00a0CLAUDE ARNAUD<\/strong>.<\/span> \u00bb\u00a0ALAN RIDING<\/strong>,\u00a0NEW YORK TIMES<\/strong><\/em>, 5.10.2003.\u00a0READ THIS ARTICLE\u2026<\/a><\/h6>\n<\/blockquote>\n
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\u00ab\u00a0LA\u00a0SUPERBe BIOGRAPHie de\u00a0<\/strong>CLAUDE ARNAUD<\/span><\/strong>,\u00a0\u00ab\u00a0<\/strong>JEAN COCTEAU\u00a0\u00bb<\/strong>\u00a0<\/em>(GALLIMARD, 2003) \u2026m\u00e9rite une traducTION\u00bb.\u00a0IAN BURUMA<\/span>, \u00ab PARIS occup\u00e9, entre douceur et CRUaut\u00e9\u00a0\u00bb,\u00a0NEW YORK REVIEW OF BOOKS<\/em><\/span><\/strong>,\u00a0VOL. 56, N\u00b0 20, 17.11.2009<\/strong>. lire cet\u00a0ARTICLE (en anglais)\u2026<\/a><\/h6>\n
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*Trouver ce livre aux<\/strong><\/span>\u00a0USa\u2026<\/a>\u00a0\u00e0 travers\u00a0ABEBOOKS<\/a>\u2026 ou la librairie\u00a0ALBERTINE<\/a>,\u00a0\u00e0 new york\u2026<\/h6>\n<\/blockquote>\n<\/blockquote>\n
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\"\"*IN THE UK<\/strong><\/span><\/h3>\n
\u00ab \u2026The early chapters of Claude Arnaud<\/strong><\/span>\u2019s cornucopian biography<\/strong> give us a marvellous, if in some ways consolingly familiar, portrait of the upper echelons of Parisian aristo-artistic circles<\/strong> <\/span>before the First World War. Simply everybody is here : from Mistinguett<\/strong><\/span> to Marcel Proust<\/strong><\/span>, Robert de Montesquiou<\/strong><\/span> to Anna de Noailles<\/strong><\/span>, Misia Sert<\/strong><\/span> to Natalie Barney<\/strong><\/span>, we wander through an enchanted period when talent seemed to earn immediate rewards, spiced by an undercurrent of discreet homosexuality\u2026 Arnaud<\/span><\/strong> describes equally well the years of the war and its aftermath, when a properly recognizable modernism became chic \u00bb. Lachlan Mackinnon<\/strong><\/span>, Times Litterary Supplement<\/strong><\/em>, 14.05.2004. READ THIS REVIEW.<\/a>..<\/em><\/h6>\n
*GET THAT BIOGRAPHY IN THE U.K<\/a>…<\/strong><\/span><\/h6>\n
*FOCUSE ON\u00a0COCTEAU<\/em><\/span>\u00a0AND THE MAIN BIOGRAPHIES<\/strong>\u00a0PUBLISHED BY GALLIMARD\u2026<\/a><\/h6>\n
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\"\"<\/a><\/h3>\n

*AU ROYAUME-UNI<\/span><\/h3>\n
\u00ab \u2026Les tout premiers CHAPitreS de la biographie de<\/strong>\u00a0CLAUDE ARNAUD<\/strong><\/span>\u00a0– Une vraie corne d’abondance<\/strong>– nous offre un MERVEILLEUX\u00a0<\/strong>portrait, d’une familiarit\u00e9 r\u00e9confortante<\/span>, des cercles<\/span> ARISTO-ARTISTIques du paris<\/span> d’avant<\/strong>\u00a0la premi\u00e8re guerre mondiale. c’est tout simplement \u00ab\u00a0tout le monde<\/strong>\u00a0\u00bb qui d\u00e9file ici : de\u00a0MISTINGUETT<\/strong>\u00a0\u00e0\u00a0MARCEL PROUST<\/strong><\/span>, de\u00a0ROBERT DE MONTESQUIOU<\/strong>\u00a0\u00e0\u00a0ANNA DE NOAILLES<\/strong><\/span>, de\u00a0MISIA SERT<\/strong>\u00a0\u00e0\u00a0NATALIE BARNEY<\/strong><\/span>, nous \u00e9voluons dans une \u00e9poque ENCHANT\u00e9e<\/span><\/strong>, o\u00f9 le TALENT semblait trouver des r\u00e9compenses IMMEDIATEs, et qu’\u00e9pi\u00e7ait une DISCR\u00e8Te HOMOSEXUALIT\u00e9<\/strong>\u2026\u00a0ARNAUD<\/span>\u00a0<\/strong>D\u00e9CRIt aussi tr\u00e8s bien les ann\u00e9es de guerre et d’apr\u00e8s, o\u00f9 le MODERNISMe ostensible devint CHIC<\/strong> \u00bb.\u00a0LACHLAN MACKINNON<\/strong>,\u00a0<\/span>TIMES LITTERARY SUPPLEMENT<\/strong><\/em>, 14.05.2004.<\/h6>\n
*pour trouver cette\u00a0BIOGRAPHie en grande-bretagne<\/a>\u2026<\/strong><\/h6>\n
\"\"<\/a>*THIS \"\"<\/span><\/a>BIOGRAPHY HAS BEEN\u00a0FINALLY\u00a0TRANSLATED IN ENGLISH<\/span><\/strong>\u00a0AND\u00a0PUBLISHED AT\u00a0YALE UNIVERSITY PRESS<\/strong>\u00a0IN\u00a0SEPTEMBER 2016<\/strong>.<\/span>\u00a0KNOW MORE ABOUT THE REACTIONS<\/strong>\u00a0IN\u00a0THE US, THE UK, AND ELSEWHERE<\/a>\u2026<\/h6>\n
*THE ATHEN REVIEW OF BOOKS<\/em><\/strong>\u00a0HAS TRANSLATED, IN ITS N\u00b080\/81 ISSUE\"\"<\/a>\"\"<\/a>(FEBRUARY 2017)\u00a0EDMUND WHITE\u2019S REVIEW OF THIS BIOGRAPHY, FIRST PUBLISHED IN\u00a0THE NEW YORK REVIEW OF BOOKS. <\/strong><\/em>READ THIS GREEK TRANSLATION<\/strong><\/a>\u2026<\/h6>\n
*READ MORE ABOUT\u00a0COCTEAU<\/strong>–PICASSO\u2019S<\/strong><\/span>\u00a0RELATIONSHIP\"\" IN\u00a0\u00ab\u00a0MINOTAUR, BANDERILLO\u00a0\u00bb<\/em>,<\/strong>\u00a0CLAUDE ARNAUD\u2019S<\/strong><\/span>\u00a0CONTRIBUTION TO:\u00a0\u00a0PICASSO THE MEDITERRANEAN YEARS 1945-1962<\/strong><\/em>\u00a0(OTHER CONTRIBUTIONS BY\u00a0JOHN RICHARDSON<\/strong>\u00a0AND\u00a0ELIZABETH COWLING<\/strong>), A CATALOGUE TO AN INTERNATIONAL ART SHOW AT\u00a0THE GAGOSIAN GALLERY<\/strong>\u00a0IN LONDON, JUNE 2010,\u00a0PUBLISHED AT RIZZOLI<\/a>\u2026<\/h6>\n
\"\"<\/a>GET THAT CATALOGUE\u00a0IN THE UK<\/a>\u2026<\/h6>\n
\"\"<\/a>IN\u00a0THE US<\/a>\u2026<\/h6>\n
\"\"<\/a>IN\u00a0CANADA<\/a>\u2026<\/h6>\n
\"\"<\/a>IN\u00a0JAPAN<\/a>\u2026<\/h6>\n
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\"\"<\/a>\"\"<\/a>*cette BIOGRAPHie a\u00a0finalement<\/span>\u00a0\u00e9t\u00e9 TRaduite eN ENGLais<\/strong>\u00a0et<\/span>\u00a0PUBLI\u00e9e Aux presses universitaires de YALE e<\/strong>N SEPTEMBRe 2016<\/strong><\/span>. pour en savoir plus sur les\u00a0R\u00e9ACTIONS \u00e0 sa publication<\/span><\/strong>\u00a0aux\u00a0\u00a0USa, en grande-bretagne, et ailleurs<\/a>…<\/h6>\n
*THE ATHEN REVIEW of books<\/em><\/strong>\u00a0a traduit, dans son n\u00b080\/81\"\"<\/a>\"\"<\/a>\u00a0(f\u00e9vrier 2017) l’article d’edmund white<\/strong>\u00a0consacr\u00e9 au Livre qu’avait d’abord publi\u00e9<\/span>\u00a0the new york review of books.\u00a0<\/i>Pour\u00a0lire cette\u00a0traduction en grec.<\/a>..<\/h6>\n
*un chapitre de cette biographie, \u00ab\u00a0A life assessed<\/strong>\u00ab\u00a0,\"\"<\/a>\u00a0avait aussi \u00e9t\u00e9 \u00a0traduit et publi\u00e9 en 2003 par\u00a0Paul Holberton publishing<\/strong><\/span>, dans la\"\"<\/a> version anglaise du catalogue de l’exposition\u00a0Cocteau du Centre Pompidou catalogue<\/strong><\/span>. pour trouver ce catalogue..<\/a>.<\/h6>\n
*Claude Arnaud<\/span> est revenu sur la relation cOCTEAU<\/span><\/strong>–<\/span>PICASSO<\/span>\u00a0<\/strong>IN\u00a0\u00ab\u00a0MINOTAUR, BANDERILLO\u00a0\u00bb<\/em>,<\/strong>\u00a0sa\u00a0CONTRIBUTION au catalogue ACCOMPAGNANT l’EXPOSITION: \u00ab\u00a0PICASSO THE MEDITERRANEAN YEARS\"\" 1945-1962<\/strong><\/em>\u00a0\u00ab\u00a0(dirig\u00e9 par JOHN RICHARDSON<\/strong><\/span>\u00a0et\u00a0ELIZABETH COWLING<\/strong>), \u00e0 la\u00a0GAGOSIAN GALLERie de<\/strong>\u00a0LONDres, en juin 2010,\u00a0PUBLI\u00e9 par RIZZOLI<\/a>\u2026<\/h6>\n
\"\"<\/a>pour trouver ce\u00a0CATALOGUE\u00a0en grande-bretagne<\/a>\u2026<\/h6>\n
\"\"<\/a>aux Usa<\/a>\u2026<\/h6>\n
\"\"<\/a>au\u00a0CANADA<\/a>\u2026<\/h6>\n
\"\"<\/a>au\u00a0JAPoN<\/a>\u2026<\/h6>\n<\/blockquote>\n
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*A CHAPTER OF THAT BIOGRAPHY, \u00ab\u00a0A LIFE ASSESSED<\/strong>\u00ab\u00a0,\"\"<\/a>\u00a0HAs BEEN TRANSLATED\u00a0 AND PUBLISHED, in 2003<\/strong>, BY\u00a0PAUL HOLBERTON PUBLISHING<\/strong><\/span>, IN THE ENGLISH\"\"<\/a>\u00a0VERSION OF\u00a0 THE\u00a0COCTEAU\u2019S EXHIBITION (CENTRE POMPIDOU) CATALOGUE<\/strong>.\u00a0FIND THAT BOOK IN THE US..<\/a>.<\/h6>\n<\/blockquote>\n
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*read an excerpt of this chapter<\/strong><\/span>, translated by Trista Selous<\/strong><\/span> : \u201cThe war was coming closer to the capital in that spring of 1942. Sirens regularly drove its inhabitants to seek refuge in shelters, cellars and metro stations, through which they drifted like ghosts with cigarette lighters. On emerging they were met by the sight of patrols of Wehrmacht soldiers singing the Horstwessellied and tanks rolling along the boulevards with very young, blonde soldiers staring down from their turrets. With its German road signs and walls covered in posters encouraging French workers to go and work in Germany to \u0152save Europe from Bolshevism\u201a Paris sometimes appeared to have become deserted once again…<\/h6>\n<\/blockquote>\n<\/blockquote>\n
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As in 1916, the emptiness that had overtaken Paris brought Cocteau<\/strong> closer to Picasso<\/strong><\/span>. The decline of surrealism and the subsequent rise of the Popular Front had enabled the two men to re-establish relations of trust. Picasso<\/strong> invited Cocteau<\/strong><\/span> to his private views and showed him some canvasses in advance, as he had with Guernica, painted for the Spanish pavillion at the Universal Exhibition of 1937. More than ever Cocteau<\/strong> saw Picasso<\/strong><\/span> as Creation made flesh, as a kind of household in which man and woman lived all tangled up together, he rough and hard-working, she loving to be seen and flattered. regarded…<\/h6>\n<\/blockquote>\n
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\"\"They were brought still closer together by the personality of Marais. Though he did not fulfil Cocteau<\/strong>\u2019s dreams by liking the actor\u2019s paintings, Picasso<\/strong><\/span> wholeheartedly admired Marais<\/strong>\u201a physique, appreciating it so greatly in Britannicus that he sent Dora Maar<\/strong><\/span> to photograph the performance. But, while Cocteau<\/strong><\/span> celebrated Marais<\/strong>\u201a faun-like qualities, the painter saw him as a courtesan. Picasso<\/strong><\/span> placed Marais<\/strong> in front of Brassa\u00ef<\/strong><\/span>\u2019s lens, in the lascivious pose of an odalisque with hands clasped behind his head, at the feet of a female nude he had just bought. Later he asked Dora Maar<\/strong> to photograph the spectacular young man. Never had Picasso<\/strong><\/span>\u2019s subterranean homosexuality – which he himself regarded as the natural by product of his hypervirility – been so powerfully evoked…<\/h6>\n<\/blockquote>\n
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\"\"<\/a> (Photo Hannah, Agence Opale)<\/span><\/em><\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Foreign rights : Anne-Solange Noble, GALLIMARD. Phone: 00331 49544356, fax: 00331 45449403, e-mail : anne-solange.noble@gallimard.fr A l\u2019\u00e9tranger aussi, les r\u00e9actions \u00e0 Ce \u00ab\u00a0Cocteau\u00a0\u00bb ont \u00e9t\u00e9 enthousiastes \u00ab Un biographe a r\u00e9solu l\u2019\u00e9nigme de ce sphinx aux mille secrets. Claude Arnaud, il faut le proclamer tr\u00e8s haut, a men\u00e9 une gigantesque enqu\u00eate \u00e0 son propos, et […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":36,"menu_order":9,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-44","page","type-page","status-publish","hentry","count-0","even alt","author-admin","last"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/44","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/comments?post=44"}],"version-history":[{"count":154,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/44\/revisions"}],"predecessor-version":[{"id":15374,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/44\/revisions\/15374"}],"up":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/36"}],"wp:attachment":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/media?parent=44"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}