[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/bruno-montpied-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/bruno-montpied-wikipedia\/","headline":"Bruno Montpied \u2014 Wikip\u00e9dia","name":"Bruno Montpied \u2014 Wikip\u00e9dia","description":"before-content-x4 Bruno Montpied is a writer, painter, filmmaker, researcher and mediator of art brut and spontaneous arts, born May 2,","datePublished":"2020-02-27","dateModified":"2020-02-27","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/c8\/Reine_des_Feuilles_Mortes_Bruno_Montpied.jpg\/220px-Reine_des_Feuilles_Mortes_Bruno_Montpied.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/c8\/Reine_des_Feuilles_Mortes_Bruno_Montpied.jpg\/220px-Reine_des_Feuilles_Mortes_Bruno_Montpied.jpg","height":"183","width":"220"},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/bruno-montpied-wikipedia\/","wordCount":5072,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4Bruno Montpied is a writer, painter, filmmaker, researcher and mediator of art brut and spontaneous arts, born May 2, 1954 in Boulogne-Billancourt [ first ] .        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4  After literary studies, Bruno Montpied returned in 1976, in self-taught, with painting and drawing that he has not practiced from the nursery school, having practiced only poetic writing (since 1971). Member of the Denis-Martin group which informally brings together several idle young people brought together their common desire to change their life on the basis of a new sensitivity inherited from the experience of the avant-garde of XX It is century, he discovered the Super 8 in parallel. He published his first book in 1977 [ 2 ] ; The same year, he exhibited his first works at the Luxembourg Museum [ 3 ] And founded on this occasion, alongside Jacques Burtin and Vincent Gille, the episodic group Zoom Back, Camera [ 4 ] !        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4After discovering the surrealist movement in 1974, he was passionate in the years 1976-1980, following his meeting with Jo\u00ebl Gayraud, for the Cobra group and his praise of spontaneity in art, then for the situationist publications which advocate the Realization of art and the end of the economy, finally for Brut Art. The latter leads him to be interested in naive art and rural popular art. Seduced by the idea of \u200b\u200ba creation that does not need any hierarchy, no license to create, nor any initiation to be able to hatch, it starts in search of unknown popular creators. He will be the revealing of a certain number of new authors little or not perceived in France before him, and will echo other forgotten creators. First in Super 8, then from the 1990s by the photo, he accumulated documentation and an increasingly large and varied iconography on spontaneous creators. He writes articles on this theme in various specialized journals. From June 2007, he launched and animated a blog on the internet, The subtle dagger [ 5 ] , in the wake of two journals which he successively edited, The red room [ 6 ] , [ 7 ] And Immediate art [ 8 ] , [ 9 ] . In 2011, he published a book entirely devoted to his research on spontaneous environments, Praise of anarchic gardens [ ten ] . The same year, he co -written with R\u00e9my Ricordeau the film DIYers of paradise (the chirping of elephants) [ 11 ] . In 2015-2016, he founded and directed at the Insomniac editions the collection “La Petite Brute”, devoted to self-taught creators (four titles published). He is also an active collaborator of the journal Frank creation of the Franche Creation Museum, and since summer 2019, of the Art magazine Specification . He also regularly gives chronicles to the magazine Tract .        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4In 2017, he published in editions du Sandre an attempt to inventory general of spontaneous environments in France, The chirping of elephants . [ twelfth ] , [ 13 ] . Over time, it constitutes a collection of brut art, or naive, anonymous or not, or even unusual popular art, as well as creations of singular contemporary artists, the essential being that it is surprised and delighted by works or objects collected. In addition to these activities, he has continued to paint and expose, both in the context of personal and collective exhibitions [ 14 ] . He donated nearly two hundred works to different museums in France, Belgium, Spain and Italy [ 15 ] .  The queen of dead leaves , 2005 [ 16 ] . When he started, Bruno Montpied is often working on small formats, acrylic painting – influenced in this by the painters of the Cobra group – then in ink or watercolor, composing automatically, playing by chance and D ‘Various experiments, excavated, complex, sometimes difficult to interpret scenes. Having started at the start of his work with a frequent use of bright colors, sometimes garish, his palette has gradually evolved towards more moderation and chromatic unit. The drawing, the graphics dominate his work. The pen of the first years are gradually given way to the use of Rotring) and markers of all kinds. \u201cThe realization of my drawings and my paintings obeys a need to play, to live a surprise above all. If I am not surprised, I defeat what I did until the expected effect. It sometimes happens that it is in a destructive moment of anger that the image arranged unexpectedly that I am looking for. I practice a kind of \u201cover-automatism\u201d. I draw at random, I put in random color, using techniques free of charge, most of the time in an incoherent way, sometimes in anxious way. I retouch, covers again, if that is offended, and leaves at random. Most of the time figures always come in my hand. I try to arouse less immediately apprehendable forms, “abstract”, enigmatic forms, offering various interpretations. I’m looking for titles for a long time, because I need it at all costs. They must be, for the best of them, titles which strengthen the ambivalent side of the image, projecting the imagination of the contemplator towards fertile dreamlike tracks where his interpretations and those that my titles instill cross, decree themselves And finally walked together. I have no preexisting “subjects”. Given my way of working. There are themes that come back, when I look at my titles, I realize it. Here are some that I noted in the catalog that I hold from my work: the world of the wonderful: sirens, fairies, small beings, giants, ogresses, references to tales. Night, death, ghosts, specters, circus, clowns, buffoons, pigs, caves, hell, devil, woman, witches, imaginary creatures, magic and magicians ( The magicians too), the animals, the forest. \u00bb\u00bb – Bruno Montpied [ 17 ] Writings [ modifier | Modifier and code ] Journal you Cercle , Reflection editions, Paris, 1977 (under the pseudonym of Julian Silja) Mysteries , La Chambre Rouge, Paris, 1984 Black butterflies , La Goutte d’Eau, Paris, 1991 Tour de France of a few (unprecedented) odds and ends , drawn apart from the review Gasogen , Cahors, March 1993 Praise of anarchic gardens , Insomniac editions, Montreuil-sous-Bois, 2011, 224 p., Accompanied by 250 photos of the author Book accompanied by the DVD of the film by R\u00e9my Ricordeau DIYers of paradise (the chirping of elephants) , co -written by Bruno Montpied and R\u00e9my Ricordeau. Andr\u00e9e Acezat: forget the past , Insomniac editions, model: (coll, Montreuil-sous-Bois, 2015, 80 pages, 70 photos of the author (ISBN\u00a0 978-2-915694-82-6 ) Marcel Vinsard, man with a thousand models , Insomniac editions, model: (coll, Montreuil-sous-Bois, 2016, 80 pages, 70 photos of the author (ISBN\u00a0 978-2-915694-92-5 ) The chirping of elephants: attempt at the general inventory of spontaneous and chimerical environments created in France by popular, raw, naive, eccentric, crazy, Brindezingues, or simply inventive, past, present and becoming, outdoors or under the outdoors earth (sometimes indoors), for the pleasure of their authors and some passing enthusiasts , Editions du Sandre, , 2017, 930 pages, more than 1,000 color photographs (ISBN\u00a0 978-235821-116-1 ) [ 18 ] , [ 19 ] To these books are added texts published in different journals, in particular: “Small race in my life” – “summer” – “Dreaming about couples (eleven drawings commented by the author),” Life exactly  n O 3, spring-summer 1986 “Bouquet of October 12”, Life exactly  n O 5, fall-winter 1987-1988 Journals [ modifier | Modifier and code ]  Red room n \u00b0 2 , Revue edited by Bruno Montpied, 1983. The red room , 5 issues, 1983-1985. Immediate art , 2 issues, 1994-1995 And margin the The red room , Bruno Montpied published the texts of different authors in the collection “La Petite Chambre Rouge” (1984-1985) [ 20 ] . Articles [ modifier | Modifier and code ] Articles by Bruno Montpied have appeared in specialized journals, including Raw Vision , Full song , Art and therapy , Frank creation , Gasogen , Specification , Refractions , Buzz , The Southern Quarterly Review , The libertarian world , LIGEIA , The notebooks of the Institute , From elsewhere , Hidden , Gold at 13 islands , Gardens , 303 Arts , Research and creations , Wonderful , Profane , Tract . Some of these articles have been taken up in The praise of anarchic gardens . Among the articles not taken up in collection, we can cite: “Outsider art, the situationist utopia: a parallel” (“art brut, the situationist utopia: a parallel”), The Southern Quarterly Review , vol. 39, n O 1-2, Hattiesburg (University of the South Mississippi), the United States, autumn 2000-winter 2001 “Liabeuf”, “Les Pipes des Condees \u00e0 mort”, “Le Carnaval de Belleville” and “H\u00e9rold Jeune”, contributions to the book A revolutionary Paris, riots, subversions, anger , on an idea of \u200b\u200bClaire Auzias, Co -Edition Nautilus and L\u2019Espritt\u00e9, Paris, 2001 “Where does Brut Art come from? Sketches for a genealogy of art brut “, Ligeia, files on art n O 53-54-55-56, Paris, July-December 2004 “Unica Z\u00fcrn, the second child who did not want to grow”, Frank creation  n O 27, March 2007, B\u00e8gles “The sculpted woods of Father Four\u00e9”, file with an introduction ( The ghost museum, in order to introduce the museum guide (1919) of the sculpted woods created by the Roth\u00e9neuf hermit ), rare documents reissued on the life and work of Father Four\u00e9 (of which The Museum Guide ), a bibliography, all illustrated with photos of Bruno Montpied and old postcards, in gold at 13 islands n O 1, January 2010, Veneux-les-Sablons “The bearded M\u00fcller find their father”, in Viridis Candela\/The Putaphysical College Publicator , n O 17, 146 e.p. [September 2018], Paris, p. 51-62  (ISSN\u00a0 2425-5629 ) , and above all, on the same subject, we will consult False Romanesque art or popular art brut, the bearded m\u00fcller find their father in the exhibition catalog The bearded m\u00fcller. Their enigmatic unmasked sculptor! from the Barbier-Mueller Museum in Geneva in 2020. Among the popular creators that Bruno Montpied has helped to make known both in France and on the international level can be cited the tailor of Pierre Fran\u00e7ois Michaud [ 17 ] , or the sculptor and designer Gaston Mouly [ 21 ] , as well as, other examples, the creators Andr\u00e9 Pailloux, or Eric Le Blanche whose Montpied was the first to report the painted environment, created in secret, inside his house in Vend\u00e9e. He also relaunched information on other forgotten or little perceived creators, such as Father Four\u00e9 (the hermit author of the sculpted rocks of Roth\u00e9neuf), D\u00e9sir\u00e9 Guillemare, Pierre Jain, Maurice Lellouche, Ludovic Mont\u00e9gudet, Ren\u00e9 Rigal, Antoinette Dumas, Georges Maillard, Paul Fauroux, Alain Sanfourche, Alain Genty, him Buffo, Joseph Donadello, or Jacques-Bernard Brunius (in his relationship with an art not yet defined in his time as “raw”). He also defended on the occasion, among the very first in criticism specializing in contemporary popular arts, a certain number of creators arranged in singular art like Natasha Krenbol, Christine Sefolosha, Jean Branciard, Raymond Reynaud, the Danish Torsten Jurell, No\u00ebl Fillaudeau, Pierre Albasser, Michel Boudin, Marilena Pelosi, Isabelle Jarousse, Guy Girard, Serge Paillard, Jean Veyret, or Marie Adda-Audin and Amadou Ba, dit ”. To date, an important contribution from Bruno Montpied to the history of art brut, consists in this that he has succeeded in determining the identity of the creator of the series of statuettes known as “Barbus M\u00fcller”, As well as the place where they were made, the village of Chambon-sur-Lac (Puy-de-D\u00f4me). The story of this discovery was published in April 2018 on his blog The subtle dagger . A summary of this story then appeared in the n O 17 of Putaphysics college publicator (September 2018), as well as, for a more supplied study, in the catalog of the exhibition of the Barbus M\u00fcller at the Barbier-Mueller Museum, in Geneva, in 2020.  The ideal palace of the horse factor , Photogramme du Film by Bruno Montfied, 1981. Under the pseudonym Julian Silja, with Anne Pag\u00e8s, Jo\u00ebl and R\u00e9gis Gayraud, Pont-au-Double , Super 8, Colors, Sonore, 1976-1977 Minced film (trilogy [ 22 ] ): Find Hortense (1977), Praise of Denis-Martin (1979), Madness: mother there (1979), 17 min, super 8 With Jacques Burtin, Melee , Super 8, colors, mute, 12 min, 1977 Soud conversation on the misfortunes of time , Super 8, colors, sound [ 23 ] , 24 min, 1977 Trianglu , Super 8, colors, mute, 17 min, 1978 [ 24 ] . Immediate art gardens , Super 8, colors, 20 short films including 19 mute (on naive residents) and 1 sound (on Gaston Mouly), around 90 min, 1981- 1992 Robert Tatin’s strange domain , Super 8, colors, 12 min, 1983 On the sidewalks of our cities (with texts by Henri Michaux and Bruno Montpied), Super 8, Colors, Sonore, 6 min, 1981-1983 A changing landscape (animated film), super 8, colors, sound, 3 min, 1983 Blinkers (with R\u00e9gis Gayraud by appearing), Super 8, Colors, Sonore, 11 min, 1984 Sandy case , Super 8, colors, sound, 12 min, 1988 Script co -written with R\u00e9my Ricordeau of the film DIYers of paradise (the chirping of elephants) , produced by the latter, colors, 52 min, Production Time Noir, 2011 Bruno Montpied (auteur), Eric Le Blanche, the man who locked himself in his painting , written by B.M. and Cor\u00e9al. With Jacques Burtin, 85 min, Production Zoom Back, March 2019 \u2191 ‘ Montfied, Bruno \u00bb , on ledelarge.fr  (consulted the October 19, 2019 ) .  \u2191 Journal you Cercle , Reflection editions, Paris, 1977 (under the pseudonym of Julian Silja).  \u2191 Trois Peintures by Bruno Montfied ( Geometric compartments , registered in the catalog, and two other unit paintings) are exhibited at the Scriptures show organized by the Lettriste group at the Luxembourg Museum from October 3 to 31, 1977.  \u2191 Five groups from the group are screened at the Luxembourg Museum as part of the Writings show: first. Find Hortense , by Bruno Montfied; 2. Pont-au-Double , by Bruno Montfied; 3. The innocence of the large broad , by Jacques Burtin and Vincent Gille; 4. Sans Titre, by Jean-Loup Montfied; 5. Soud conversation on the misfortunes of time , by Bruno Montfied.  \u2191 Blog.  \u2191 ‘ The red room In the catalog of the Kandinsky, Mnam, Paris library. \u00bb , on bibliothequekandinsky.centrepompidou.fr .  \u2191 Format 21 x 15 cm, 5 numbers published between 1983 and 1985.  \u2191 ‘ Immediate art In the catalog of the Kandinsky, Mnam, Paris library. \u00bb , on bibliothequekandinsky.centrepompidou.fr .  \u2191 29.7 x 21 cm format, two numbers published, the first in 1994, the second in 1995.  \u2191 Insomniac editions (220 pages and 250 photos) (ISBN\u00a0 2915694486 ) .  \u2191 This film, broadcast on several regional channels of FR3 and on planet, was published on DVD and attached to the book Praise of anarchic gardens . He was projected in particular to the Collection of Brut in Lausanne for the Night of the Museums in September 2011 ( Program of the BRUT Art Collection , September 2011, page 17).  \u2191 Fran\u00e7ois Angelier, \u00ab Beautiful curious books. Domestic enchanters followed on track \u00bb, The world , December 14, 2017 ( read online , consulted the August 25, 2019 ) .  \u2191 Jean-Didier Wagneur, ” Totems me either \u00bb, Release , December 15, 2017 ( read online , consulted the January 3, 2018 ) .  \u2191 Main personal exhibitions: Galerie l’Usine, Paris, 1987; Galerie Imago, Franche Creation site, B\u00e8gles, 1991; Librairie de la Halle Saint-Pierre, Paris, 1994; Creation Museum Franche, B\u00e8gles, 2002; Galerie Orsel, Paris, 2002; Galerie Dettinger-Mayer, Lyon, 2005 then 2017; Museum of Franche Creation, B\u00e8gles, 2011; Galerie La Fabuloserie-Paris, 2018.  \u2191 More than a hundred works have been the subject of a donation to the Museum of Franche Creation in B\u00e8gles (Gironde). Four works are present in the collection of the Dutch foundation of naive art and outsider That city center Loaned and temporarily accommodated at the Museum of Doctor Guislain in Ghent in Belgium. 23 Works are part of the singular art collection of the Navarre Museum in Pamplona in Spain. A dozen works appear in the cabinet of prints of the Panizzi library in Reggio d’Emilie, Italy, as part of a donation from the art critic Dino Menozzi. A work is part of the art library of the Regional Center for Contemporary Art of the Ch\u00e2teau du Tremblay in Fontenoy (Yonne). Finally, a donation of 26 works integrated the collections of the Vieux-Ch\u00e2teau Museum in 2012 (Laval) (Museum of Naive art and singular art).  \u2191 forty six cm \u00d7 38 cm , mixed technique on a hungry carton.  \u2191 a et b Interview with Pascal Julou, March 2011, on paskallarsen.com .  \u2191 Joeg Cornguault, Dromomanies, chapter “The terrain donated to poetry” , St-Pour\u00e7ain-sur-Sioule, blue around, 2018 , 127 p.  (ISBN\u00a0 978-2-35848-107-6 ) , pp. 41-49 .  \u2191 Annie Le Brun, Which is priceless: beauty, ugliness and politics , Paris, Stock, 2018 , 172 p.  (ISBN\u00a0 978-2-234-08598-5 ) , pp. 152-158 .  \u2191 Roland Chelle, Shiny verse , 1984; Gayraud R\u00e9gis, Go white , 1984; Jean-Pierre Le Goff, On the heap , 1984; Jo\u00ebl Gayraud, Bed prose , 1985.  \u2191 ‘ The subtle dagger: bridges between popular art, brut art, naive art, spontaneous surrealism and immediate art: a poetics of the immediate \u00bb , on paskallarsen.com .  \u2191 Mute experimental films in tribute to DADA avant-garde films as Entr’acte Or Norman Mac Laren’s films.  \u2191 Square-registered soundtrack, independent of the image comic strip.  \u2191 This film is the witness of the production of a collective work by the Zoom Back group, Camera! (mixed techniques on a triangular wooden support 130 cm side).  On other Wikimedia projects:       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/bruno-montpied-wikipedia\/#breadcrumbitem","name":"Bruno Montpied \u2014 Wikip\u00e9dia"}}]}]