1975-015
TEXTS ON ART : Image number 1975-015.
Frm page 201 to page 240.
PAGE 201
nothing had happened yet and already my
friends and I we had ''ideas'' about life! ! !
Still, if life would not have been life
and that it would have been our ideas, in any case
it would surely not have gone worse!
Me, I had a ‘’cabin instinct’’, what I call
an instinct-of-cabins-in-the-trees.
When we were small, sent outside in the
early morning hours and then I volunteered myself
to build a cabin for my sisters and all my friends.
All the old curtains of the neighbourhood women
where used, and all my mother’s
clothes-pins. Since a long time I made terrific cabins
with these things.
In the afternoon when there was no more cabins to make,
and everyone was playing house...
at one point I had invented the idea of
creating a theatre in the yard ... the benches were
old telephone poles aligned one behind the other
and the entry price was CLOTHESPINS
... for my mother ... (she go tiered of being short of them
because of my-cabin-making-instinct)
...
later when I was 13, 14 years old,
when I was a beatnik,
I had started a small theatre in the basement
of my boyfriend's house. Always the cabin instinct
... then the instinct-of-dreams ...
...''the instinct of dreams’’...
in any case I really am tempted to
redevelop the instinct-of-dreams... what dose
it gives to be realistic!
after all when a place doesn't suit you,
you change cribs, right? And as for me, in
real life I am ‘’incompetent’’
nobody feels comfortable being incompetent
no?
Ha! real life, they can keep it for
PAGE 202
themselves, what do I care, I've been
there, ha! nobody can accuse me for not
having been there, and ME, REAL LIFE, WELL THEN,
ME, I DID NOT EVEN LIKE IT.
It's true no? What would I care
if I was incompetent
in something that I don’t even like.
And furthermore, what do I care if I
have perhaps been really loved by people
that I don’t even admire, and even that they do a lot of things
that if it was me that was doing these things,
well I would be ashamed of myself.
And further more, love, for me,
love is the last thing that I need from now
to the end of my days, from now
until my death.
Well its true no? dint of loving dam! ! ...
... love, love, love it is very
nice but LIFE?
Look, me for example, I am thirty-two
years old done, hen? Well it is assumed
that we will be here for almost 80 years, what?
Well me, at 32, well it passed ''click''
like that, hen! So I do not see why I could imagine
that fifty years
could last all eternity --
as for reincarnation, friends, it is not guaranteed!
So that means that for me that in life
there is nothing else to do but to live.
In death, we will die, or I do not know what,
but in life, I've all my time to myself
to live.
Hi! Hi! Hi! ,
They always say all the time: ‘’Time is money’’
and then they throw themselves like crazy left and right
like weathervanes
Hi! Hi!
Why contradicted them (they are so fragile, it's true hen!)
You contradict a guy and flak! he is all upset.
PAGE 203
(Ah! (I should not say your gossip jock on the pillow ...
I cannot help myself ...) Hi! guys are so fragile that
one word too much or not enough and chlac, hen,
a dropped in their ‘’virility’’, then it's serious hen, their thing about
virility there it is ALL for them, a virility
when it ...''FLEXES'' (soften) it does not raze as easily
after that). In any case I am not for being the mother of all my husbands.
I am nothing but their wives, after all, not their psychiatrist. The case
of ''I take you in the right way, in your good days''--
theme and their stories of their good days
and their bad days – Spending one's time to take
people with tongs it takes time.
And as a mater of fact, that is what I was saying, they say
That ''time is money''?
Well, it suits me fine because
precisely, I may be little
else BUT I HAVE TIME
I am not crazy! I have just found this
unexpected gold mine and I am not
to start to throw myself everywhere and
waste everything for anything and anyone.
When I want to pitch myself into spending I have
a lot follies to do for me and for my daughter.
My daughter and I now
we have more and more the-cabin-instinct-in-the-
trees, and the instinct-to-dream together.
One on the other we worsen each other more and more.
It would not surprise me if we would come to
‘’flop’’ all our lives JUST BY LIVING IT.
-------------------------
Alice Phase''5'': The Contract
Monique - (give the sealed letter to Cybèle)
Cyb - (opens the letter and begins loudly)
‘’May 22, 1980
PAGE 204
To my daughter...
... (The rest is whispered) ... ... ... ..
Monique - ... and do not forget
1
May 22, 1980
To my daughter,
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
2
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..................... ......................
.........................
PAGE 205
3
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ...
good
if we understood more quickly that
''Wining for wining'' is nothing
in its itself.
Us, its happiness that we want,
nothing less.
_''HAPPINESS
OR
NOTHING''
There is nothing too good
For
Us
- ... And remember that
living, counts,
enjoying counts.
You have just arrived!
PAGE 206
The maquis will give you for your teen’s
an exciting taste of guerrilla warfare.
Two rules lead all here.
First, we sign and claim
each of our moves.
And this will satisfy your need
to impose yourself globally,
you, and all that you think,
what you do
what you are.
Secondly, when we give each other the
O.K. on a point, an action,
afterwards, whatever happens, we
endorse it all TOGETHER and JOINTLY
That means: no need for
fear of the ‘’dropping out’’ like ''Ha,
it's your problem now; it was
your idea, not mine'' etc., etc. ...
that is what are real maquis fighters, that are worthy
of this beautiful word.
And that will feed your taste for great
solidarity in your adolescence.
You see, your true friends will be ours.
And those of my friends that I will introduce to you
like true partisans,
you can say to yourself with confidence
that they are your friends.
Never forget that you can not
give what one does not have.
Being committed, we must not make a mistake,
what ever they say, to be committed,
it does not mean leaving a slavery
PAGE 207
to alienate oneself in an another.
Only happiness is seditious.
Remember that we enter the maquis
to act more safely; it is
certainly not to become a martyr
even for a cause.
There is no question of dying
for what we love. We will perhaps
live for what we love, but
certainly not die for it.
Anyway, do not worry,
we will speak about this to you as we go along.
It's so exciting to become happy
and active, you'll see.
As I said ''there is no hurry,
TIME, we have!''.
The others?
The others of the wide world?
Well, that's their problem.
We must formulate our conscience decision
and communicate them.
But we can NOT live
for others.
So you see, the others, if they
finally get tired of their stress, their embolism,
their insomnia, their
heart-failure-at-40 years old;
if they tire of their anxieties
and solitude,
then at that time, they will
only have to… ''move'' themselves also,
as we do ourselves,
reevaluate oneself,
grasp oneself and humbly
PAGE 208
start from scratch.
(Do not worry; ''it won’t
kill your buddies.'')
As for us, well ‘’good
for us’’ if we understood more
quickly that ''wining for wining''
is nothing in itself.
We, it is happiness that
we want, nothing less.
‘’Happiness or nothing’’, there is nothing
too good for us.
----------
***** (I do not know where to place this text; it's been twenty-seven years ...
memory ... It could indeed be at the end; the conclusion. Although, Monique,
in another writing says that the performance ends with: ''Better to be anything
and alive than whatever and dead ... maybe ...'')
Girls you have revealed me
to myself! ! !
Since the time that I saw
myself as being humoristic!
And all my husbands that washed their
hands claiming that my
humour was ‘’hermetical’’! ! ! !
I - Ha! well (Sagouine of modern times, being sprightly in
a FRENCH WAY)
Me, I started in
construction girls...
Etc ... etc...
PAGE 209
intervenes -''Why?''
I – well since I was
better at icing cakes
that in taking care of cats
and mice or the teaching
of philosophy and technology ...
thus masonry, plastering
and cement seemed to me well
indicated. That was what was
then simplest and the most easy
what!
intervenes -''The easiest?''
I – Well of course yes! Ha! of course it takes
nerve, provocation and promiscuity
the profession is overrun with these guys
of course! They work stripped to the waist,
muscle bare, and steaming sweat
... it's the only way ...
etc...
etc. the difficulties of the profession
e.g. the time it takes to negotiate the
mortgage… bank managers etc.
invaded by these guys ... you can not talk
directly of what you want them to prepare for you
one must take them by their feelings
compliments, the feeling of their
importance. Besides (pontificating tone)
the more the guy is locked out of life,
in a glass office, out of the action,
and more one must be a ''di-plo-mat''--
you see the kind of deluxe-guy, suit and
tie, after shave and everything
and blah-blah-blah ... etc.
but no, I do not want anything manager, I just want
PAGE 210
what I need to succeed etc., etc., etc. ...
- No but it seems
that you imagine that I lead
a double life, dam! ?
See if only two roles
could contain me!
I do not want to die without
having lived!
Two, three, four and five
Lives ... at least,
With all that is necessary not to
Show, what one should not say,
what is not done blah
blah in each gang
one must be part of at least
four, five gangs to be able to
exist a little, to be able to express oneself
almost normally, properly!
Ha! my friends if I had
experienced instruction!
My my! What a beautiful little
finicky graduate I would have been.
- Dam!
Wake up dam it
They are all there thinking that
we are eternal!
Where are you, you, my father
Where are you, you, my mother
What am I talking about, here,
is history
s-Not all our lives
we are not just history
damn it.
My mother, my father!! Where are you?
Don’t you see
that it is life that is passing,
PAGE 211
our only life, that belongs to us
(as for history, it will always be
there ... (low voice))
* - The two pictures 2 – to Robert - the girl and the bull
1 – the women and the offering
***** (End of the FILE ''performance; Women’s experimental theatre.'')
----------------------------------------
***** (Bio., page 973) (1981)
***** (FILE: Monique wrote this small book (''Art classes for seniors.'') for my grandmother,
she had asked Monique to give her an art class. Not living in the same city, it became difficult
to meet every week. So Monique wrote (manuscript) her method of teaching (including
discussions and exercises) in a small ‘’embellished’’ notebook and offered it to my
grandmother so that she could continue by herself while having time to time a phone
conversations . Monique and my grandmother had a spontaneous friendship at their very
first encounter. The essence of her method applies to all age groups; the presentation is
modified depending on the age group to whom it is addressed. Monique has also
observed that her method does not perform significantly if taught to children under
the age of ten. Note: I will respect the pagination of the text and also the line
changes.)
June 16, 1981
To Marie-Jeanne Stanton
my grandmother.
***** (Next page)
Art is a philosophy
and
painting
PAGE 212
is
a language.
***** (Next page)
Find pictures to say what you want to say.
(Next page)
1
First series
of exercises
HOW TO SEE
* Remember that
charcoal can make
wide lines
or thin lines, very
black or grey
pale or again
masses or
shadows
everything depends on
how you
apply it
and how hard you press. Use
fixative
***** (Next page)
To create is to
KNOW HOW TO CHOICE
KNOWING HOW TO DISTINGUSH
ONES THOUGHTS
***** (Next page)
PAGE 213
1. Choose a word
representing a
abstract thing
ex.:
Take this word as a
title to perform a
QUICK drawing in
charcoal.
2. Choose a word
representing a
concrete thing
ex.: Idem
3. Choose a word
representing a
concrete feeling
ex.: Idem
4. Choose a word
representing a
abstract feeling
ex.: Idem
***** (Next page)
OF WHAT ARE FILED
THE FORMS AND
SPACES
5. Take a square inch
of each of the
first four
drawings and enlarge them
to fill a hole
PAGE 214
page, as
if you were looking at it
through a microscope.
If you do not see
enough things on
your page, for it
not to seem empty, take
a bigger ''microscope'' and
enlarge more
***** (Next page)
another inch
of your test on an
other large
sheet
. You know you
could have chosen
anywhere
(the one inch)
on your first drawings to
to do your tests on
enlarging.
***** (Next page)
TO STRENGTHEN A SUBJECT
***** (Next page)
6. Finally, now choose
one
of your four themes
from the beginning, the one whose
subject means the
most to you
AND IN THE LIGHT of the
experience that you
just acquired,
do a painting
(colour) with this same
theme.
* Read notes on the following pages --
***** (Next page)
NOTES:
8 When I say:
‘’Taking up this theme again’’
in colour
for example,
it does not
mean to copy
the SAME picture,
but to keep
the same subject-theme
and make
another picture, as
to show another aspect
of the same
question.
***** (Next page)
* Gouache:
mix the basic colours
or
primary colours (red, yellow, blue)
to obtain
your secondary colours
(yellow + blue = green, red + blue = purple, yellow + red = orange).
* When you make a
mixture:
PAGE 216
ALWAYS start
with the paler colour
and add a very
***** (Next page)
small dose of
the darker colour
* good luck *
***** (Next page)
II
ART
Always dose your efforts:
one part reflection
and one part execution.
THE PHILOSOPHY OF
ART
***** (Next page)
You know that
seeing under the microscope
that is to say ‘’looking
closer''
you have discovered
many lines and
colours that are
not seen at a
first glance, the
hidden mysteries
that are in all
images, these secrets
***** (Next page)
PAGE 217
that the man of the
street does not see,
dose not know how to see
in nature
and in life,
but
that ‘’The-loving-eye-
on-the-world’’,
the eye of the heart and
imagination,
that can discover
this ‘’eye of the artist’’.
***** (Next page)
The work of the creating
artist is to show
using
lines, shapes and colours,
all that
his heart, his
imagination, his
sensitivity, his unique
personality
allow him to
perceive, capture,
imagine, but that in
***** (Next page)
practical life,
daily life
does not
always allow to
express.
***** (Next page)
PAGE 218
So, if the goal
of the craftsman (all
crafts, including
coking, knitting,
tapestry or forging iron
or working glass, etc. ...)
if the purpose of the craftsman
is to learn,
conserve and improve
a technique
to make a
beautiful product, good
and / or useful,
***** (Next page)
the purpose of
pure creation
like painting
for example is
a bit different.
*
The purpose of painting
is as follows:
using techniques,
if one has some
by inventing them,
***** (Next page)
if we do not have any
or if one does not feel like it,
if we fell like it,
and when we fell like it,
we try to express
what can not be said
but does
PAGE 219
exist.
For example:
a beautiful sunset
it can be photographed
BUT the feelings
***** (Next)
that one feels
before the sunset
and the ideas
that come to us then
as if this beautiful
sunset made us
precisely,
without
knowing why,
think of this or that ...
... one day the sunset
gives us a great
sense of peace
***** (Next page)
and serenity, at another
moment to the con -
contrary, it makes us
shiver as if
we felt worried,
…another
day, it makes us
remember
someone that we
loved strongly
for a moment long ago,
or an object whose
beauty we had noticed
***** (Next page)
at the
time, it was a
home, or…it was
a little coloured lace
along a
cloth or a clothing,
or…it was
a fir glimmering with
ice one winter ...
yes, yes ... we remember,
as a matter of fact it was
at sunset
and our
***** (Next page)
thought continues,
the images and
atmospheres arise in
succession.
What beautiful paintings
we can make
with all these
images!
and we see
that we are RICH
in images, rich
***** (Next page)
in creativity.
We believed that
one had to be a type of
austere genius
PAGE 221
to have images
in profusion as
the great painters
who have their head
full of them,
and here we
realizes that,
***** (Next page)
when one has a heart,
we can
be generous
and attentive to life,
to nature, to things
as well as people,
when we have guts,
and we are not
afraid to live and
confront experiences,
automatically
***** (Next page)
we collected
a rich experience
of sensations,
visions, ideas,
that by the simple
fact of making
our imagination work
a little to
think about it, is trans -
formed into a beautiful
large capital of
images that ask
only one thing:
PAGE 222
***** (Next page)
that we allow ourselves
to spend a little
time to recount them,
all these images,
that is to say
to draw them,
to paint them, to
colour them.
***** (Next page)
That is why I think it
is probably for
that reason that there are very
little child-prodigy
in art.
A little Mozart
occasionally
of course, but
especially dozens
and dozens
***** (Next page)
of older men and
older women
which have succeeded
into knowing ''what''
to paint, and ''what''
to compose
only later in life,
after having asked themselves
all their
life’s.
***** (Next page)
PAGE 223
If we are interested
in art since our
youth, if we
had the chance to
take some courses
that may have made
us understand
the meaning and purpose
of creation
since our youth,
***** (Next page)
we may
practice all
our life,
we will make
a lot of ‘’interesting’’
things,
but it is only
later that
we will succeed in
painting what
art critics or the
professor calls
***** (Next page)
‘’works of
maturity’’
because to make
works of ‘’maturity’’:
it takes
experience of life,
and maturity.
A young person who
wants to paint
PAGE 224
***** (Next page)
something
''Original''
that is to say
something personal,
how can he?
Where will he find
in himself his
choices and tastes? ...
The youth wants to be
personal but he
has a heart and an
***** (Next)
imagination that is new
and virtually pristine.
When he thinks he has
an original idea,
it is often only
a criticism of
the idea of someone
else.
The youth does
not easily accept the idea
that he does not have
***** (Next page)
experience; he believes
it's unfair
that he has
tastes that belong to him,
right now.
PAGE 225
So
when he believes he is
affirming one of his tastes,
often all that he does
is simply to
criticise
or reject a
***** (Next page)
tastes of his parents.
(I would never have
admitted that!
... If it was not that
I have a weakness
for you! ! ! !)
What this youth does
not yet known,
is that tastes
are not things
that one orders.
We can not do it
like that,
when one thinks
that he is big enough, and
decided to invent for
himself his own
***** (Next page)
tastes out of nothing.
ho! we try, we
do it, but
experienced people
look at us and
say, ''look, there she is,
PAGE 226
in another one of her
phases!''
Because the personality
***** (Next page)
that is our
own,
it is like
love and affection:
it happens to us ...
we can only acknowledge
our pleasures,
our sympathies
***** (Next page)
when one realizes them.
We can try to
explain them by
all kinds of theories,
it does not change
the fact, for
example, Robert and
I, even if we
spent our youth
in the same neighbourhood,
in the same
environment, often knowing
the same
***** (Next page)
people for over
ten years
it is only recently
that we
PAGE 227
noticed each other
and we
fell in love ...
... maybe it is
only recently that
we finally had
enough experience
to KNOW what
we loved.
***** (Next page)
It is for this
that when we
come to something
that touches so closely
human experience
as pictorial creation,
that it is such a great advantage
to having at first
LIVED as long as
possible.
***** (Next page)
Thus, it suffices
to know clearly
what painting is
and wanting to
give time to it
to be able
to find what
is good to paint.
***** (Next page)
A person of
experience has only
PAGE 228
to let himself go
and think a little
to find in herself
WHAT SHE FEELS,
the full range of
thoughts, of
emotions and
human dreams,
and then, there is no
other recipe
***** (Next page)
than to go and paint
AS it comes and
What comes.
***** (Next page)
In painting,
pride has no
place,
only truth
counts.
And we should not
mistaken: I mean
the truth and not
reality.
***** (Next page)
For to show
the world what is the
exact colour and
what is the exact form
of the sunset,
there is no
need to be an ‘’artist’’,
PAGE 229
that is to say for a women
of experience
it suffices to have a
good camera.
***** (Next page)
BUT,
to show
the world-who -
seeks, the young
above all, what it is
to live, what
it is to be a human
being that lives, that feels,
that senses, we must
have lived, each
day, for long,
and not have
***** (Next page)
only the experiences
of such and such a thing
in particular, but the
real experience of what
it's like to live
a human life.
THIS message
which is
art’s, this gift
***** (Next page)
from the artist
to take the
time to transmit
to us a bit of
his experience,
of his human
feelings
in regard to the
smallest as in
the greatest
things in life,
THAT'S THE REASON WHY
THEY SAY ABOUT ART
THAT IT IS
***** (Next page)
ETERNAL.
While all the
schools and all the
universities in the world
only teach us
''things'',
techniques,
knowledge,
***** (Next page)
art shows us
the Knowledge,
that youth
seeks so much.
Many young people and
often the most intelligent
leave their studies
nowadays, because after
a certain time, they
realize that the university
with all its panoply of
PAGE 231
sciences, absolutely does not
answer the questions
***** (Next page)
that arise.
What is a person?
What is a rabbit, a
flower, a rock?
What is different
between a person and a
another creature in
nature?
What is my destiny, what
can I see in
life that my cat
cannot see?
Life is so complex when
we arrive in the world;
our parents are
learning to live and
***** (Next page)
trying to succeed in taking care
of us, but we have the
impression that they do not
have the time to show us,
the apprentice-
humans, what it is to
live, because they
are too busy
living themselves.
***** (Next page)
THE young person is in
the stage of
PAGE 232
questioning
The parent in
the stage
of action
Fortunately, nature is
well made because just at this
moment THE grandparent
is in the stage of what
I would call the
experience of life
***** (Next page)
that is to say that
maturity has given to
the grandmother
the peace of mind
to know what she feels
concerning things and
people.
THE grandmother,
even if she does not know
''Why'',
she always knows whether
she likes or dislikes
something,
what she finds beautiful
and what she finds stupid.
***** (Next page)
That is why the
grandmother can
paint what she
wants, because she knows
how to recognize what
she knows from
PAGE 233
what she does not
know.
Art paints what
is eternal in
the human heart,
the sentiments, the
***** (Next page)
''feelings''.
And it is to
express and transmit
these simple interior
experiences
that are
however, the only
true wealth that
we accumulates by
living one's life,
since the beginning
***** (Next page)
of time,
that men and
women
decided to
paint.
***** (Next page)
What is
an artist?
It is someone
who decides to
express and
PAGE 234
transmit by lines
and colours
what he feels,
his experience
and his fantasy.
***** (Next page)
That is
why, that as soon as
we decided to paint
‘’real painting’’,
we must stop
wasting our time
asking ourselves:
is it drawn
like this or
like that? Is this
the right line? Is this
the right colour?
***** (Next page)
All lines
and all colours
are in
nature and
nature, it is
not only
what we see,
it is also everything
that we can
feel and imagine
with the soul, the heart
and the mind that
Creation has given us.
***** (Next page)
PAGE 235
To honour the
possibilities of
thought that we
were given,
there is better
to do that to
waste our time
always erasing and
correcting each
line.
When we paint
with our heart and
***** (Next page)
with our natural talent,
no matter
whether it is large
or small, clever
or awkward,
we must respect
the picture that
come out of our
fingers. Would we
see a mother
who would tell her
child who is
taking his first wobbly
steps say: ''Stay down,
***** (Next page)
you walk too badly,
you will get up only
when you are good
enough to walk right!''
...we would laugh at her
PAGE 236
or we would say
that she is stupid, right?
Just imagine
that art has a heart,
that art is a
good mother or a
***** (Next page)
good father who wishes
to see the beginning artist,
whoever he is, talk to him
and come towards him.
Whether we come to
art, dancing or
stammering, art
as the good mother
before her child,
will always be delighted.
For art as a
***** (Next page)
mother, always
perfectly understands
the joy or the sadness
of her child as soon
as he opens his
eyes, if he
speaks or not.
***** (Next page)
We understand
why great
painting masters
spent hours
and years
contemplating the same
sunset or
like the Japanese,
painting the same
flowers in
different
***** (Next page)
atmospheres.
before just one
sunset,
a person-with -
long-experience
may have the idea
to paint
dozens of different
topics.
***** (Next page)
III
Second series
of exercise
WHERE TO FIND''
OUR IDEAS''
Stimulate our imagination
***** (Next page)
1.
Imagine that you
have a little girl of
PAGE 238
four years old.
This little girl who
has many uncles and
aunts, would have
been tolled many
classic stories
and tales.
One day, you
are alone with
her and to make her marvel,
***** (Next page)
you tell her
an original story
that you made up
yourself.
You have all the gifts
and you can make
the child see the
wonderful world
where this is
happening.
ex. : Depict the ‘’ambiance’’
of magical beauty
in which
***** (Next page)
your imagination
will draw
the child’s.
* Name your
painting
What is its title.
Technique:
PAGE 239
Work with gouache
by mixing
white with all
the colours you
are preparing.
***** (Next page)
2.
You are
with a 7 year old
child.
He is your grandson.
Today, he is
calm and willing
to listen to you.
You, you're in
shape and ready to
undertake some
thing.
Knowing that
children stop only
for brief periods of time
***** (Next page)
and that we must seize
the opportunities that
arise, the idea comes to
you to profit of this
occasion to undertake a
bit of ''education''.
You know that you're
grandson loves you,
and sometimes even prefers
you to his mother
that he accuses of
PAGE 240
‘’taking care of him’’ too much.
It is because even the nicest
mother in the world
is still the one
***** (Next page)
that tells you to
pick up your toys, to come
and eat at the moment
where you are the busiest,
to take your bath
etc. ... the one that defends
things, corrects and controls,
while the grandmother
''is always
nice!''.
So not wanting
to lose you're privileged
status, you decide to
to talk with
him, nicely,
without severity,
in confidence
***** (Next page)
and freedom, but
seriously all
the same.
You try to have with
him one of these
conversations ''that speaks
of life'' and that strike
small children.
You know those little
confidences that
grandmothers make on
***** (Next : Image number img134.)
Frm page 201 to page 240.
PAGE 201
nothing had happened yet and already my
friends and I we had ''ideas'' about life! ! !
Still, if life would not have been life
and that it would have been our ideas, in any case
it would surely not have gone worse!
Me, I had a ‘’cabin instinct’’, what I call
an instinct-of-cabins-in-the-trees.
When we were small, sent outside in the
early morning hours and then I volunteered myself
to build a cabin for my sisters and all my friends.
All the old curtains of the neighbourhood women
where used, and all my mother’s
clothes-pins. Since a long time I made terrific cabins
with these things.
In the afternoon when there was no more cabins to make,
and everyone was playing house...
at one point I had invented the idea of
creating a theatre in the yard ... the benches were
old telephone poles aligned one behind the other
and the entry price was CLOTHESPINS
... for my mother ... (she go tiered of being short of them
because of my-cabin-making-instinct)
...
later when I was 13, 14 years old,
when I was a beatnik,
I had started a small theatre in the basement
of my boyfriend's house. Always the cabin instinct
... then the instinct-of-dreams ...
...''the instinct of dreams’’...
in any case I really am tempted to
redevelop the instinct-of-dreams... what dose
it gives to be realistic!
after all when a place doesn't suit you,
you change cribs, right? And as for me, in
real life I am ‘’incompetent’’
nobody feels comfortable being incompetent
no?
Ha! real life, they can keep it for
PAGE 202
themselves, what do I care, I've been
there, ha! nobody can accuse me for not
having been there, and ME, REAL LIFE, WELL THEN,
ME, I DID NOT EVEN LIKE IT.
It's true no? What would I care
if I was incompetent
in something that I don’t even like.
And furthermore, what do I care if I
have perhaps been really loved by people
that I don’t even admire, and even that they do a lot of things
that if it was me that was doing these things,
well I would be ashamed of myself.
And further more, love, for me,
love is the last thing that I need from now
to the end of my days, from now
until my death.
Well its true no? dint of loving dam! ! ...
... love, love, love it is very
nice but LIFE?
Look, me for example, I am thirty-two
years old done, hen? Well it is assumed
that we will be here for almost 80 years, what?
Well me, at 32, well it passed ''click''
like that, hen! So I do not see why I could imagine
that fifty years
could last all eternity --
as for reincarnation, friends, it is not guaranteed!
So that means that for me that in life
there is nothing else to do but to live.
In death, we will die, or I do not know what,
but in life, I've all my time to myself
to live.
Hi! Hi! Hi! ,
They always say all the time: ‘’Time is money’’
and then they throw themselves like crazy left and right
like weathervanes
Hi! Hi!
Why contradicted them (they are so fragile, it's true hen!)
You contradict a guy and flak! he is all upset.
PAGE 203
(Ah! (I should not say your gossip jock on the pillow ...
I cannot help myself ...) Hi! guys are so fragile that
one word too much or not enough and chlac, hen,
a dropped in their ‘’virility’’, then it's serious hen, their thing about
virility there it is ALL for them, a virility
when it ...''FLEXES'' (soften) it does not raze as easily
after that). In any case I am not for being the mother of all my husbands.
I am nothing but their wives, after all, not their psychiatrist. The case
of ''I take you in the right way, in your good days''--
theme and their stories of their good days
and their bad days – Spending one's time to take
people with tongs it takes time.
And as a mater of fact, that is what I was saying, they say
That ''time is money''?
Well, it suits me fine because
precisely, I may be little
else BUT I HAVE TIME
I am not crazy! I have just found this
unexpected gold mine and I am not
to start to throw myself everywhere and
waste everything for anything and anyone.
When I want to pitch myself into spending I have
a lot follies to do for me and for my daughter.
My daughter and I now
we have more and more the-cabin-instinct-in-the-
trees, and the instinct-to-dream together.
One on the other we worsen each other more and more.
It would not surprise me if we would come to
‘’flop’’ all our lives JUST BY LIVING IT.
-------------------------
Alice Phase''5'': The Contract
Monique - (give the sealed letter to Cybèle)
Cyb - (opens the letter and begins loudly)
‘’May 22, 1980
PAGE 204
To my daughter...
... (The rest is whispered) ... ... ... ..
Monique - ... and do not forget
1
May 22, 1980
To my daughter,
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
2
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..................... ......................
.........................
PAGE 205
3
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ...
good
if we understood more quickly that
''Wining for wining'' is nothing
in its itself.
Us, its happiness that we want,
nothing less.
_''HAPPINESS
OR
NOTHING''
There is nothing too good
For
Us
- ... And remember that
living, counts,
enjoying counts.
You have just arrived!
PAGE 206
The maquis will give you for your teen’s
an exciting taste of guerrilla warfare.
Two rules lead all here.
First, we sign and claim
each of our moves.
And this will satisfy your need
to impose yourself globally,
you, and all that you think,
what you do
what you are.
Secondly, when we give each other the
O.K. on a point, an action,
afterwards, whatever happens, we
endorse it all TOGETHER and JOINTLY
That means: no need for
fear of the ‘’dropping out’’ like ''Ha,
it's your problem now; it was
your idea, not mine'' etc., etc. ...
that is what are real maquis fighters, that are worthy
of this beautiful word.
And that will feed your taste for great
solidarity in your adolescence.
You see, your true friends will be ours.
And those of my friends that I will introduce to you
like true partisans,
you can say to yourself with confidence
that they are your friends.
Never forget that you can not
give what one does not have.
Being committed, we must not make a mistake,
what ever they say, to be committed,
it does not mean leaving a slavery
PAGE 207
to alienate oneself in an another.
Only happiness is seditious.
Remember that we enter the maquis
to act more safely; it is
certainly not to become a martyr
even for a cause.
There is no question of dying
for what we love. We will perhaps
live for what we love, but
certainly not die for it.
Anyway, do not worry,
we will speak about this to you as we go along.
It's so exciting to become happy
and active, you'll see.
As I said ''there is no hurry,
TIME, we have!''.
The others?
The others of the wide world?
Well, that's their problem.
We must formulate our conscience decision
and communicate them.
But we can NOT live
for others.
So you see, the others, if they
finally get tired of their stress, their embolism,
their insomnia, their
heart-failure-at-40 years old;
if they tire of their anxieties
and solitude,
then at that time, they will
only have to… ''move'' themselves also,
as we do ourselves,
reevaluate oneself,
grasp oneself and humbly
PAGE 208
start from scratch.
(Do not worry; ''it won’t
kill your buddies.'')
As for us, well ‘’good
for us’’ if we understood more
quickly that ''wining for wining''
is nothing in itself.
We, it is happiness that
we want, nothing less.
‘’Happiness or nothing’’, there is nothing
too good for us.
----------
***** (I do not know where to place this text; it's been twenty-seven years ...
memory ... It could indeed be at the end; the conclusion. Although, Monique,
in another writing says that the performance ends with: ''Better to be anything
and alive than whatever and dead ... maybe ...'')
Girls you have revealed me
to myself! ! !
Since the time that I saw
myself as being humoristic!
And all my husbands that washed their
hands claiming that my
humour was ‘’hermetical’’! ! ! !
I - Ha! well (Sagouine of modern times, being sprightly in
a FRENCH WAY)
Me, I started in
construction girls...
Etc ... etc...
PAGE 209
intervenes -''Why?''
I – well since I was
better at icing cakes
that in taking care of cats
and mice or the teaching
of philosophy and technology ...
thus masonry, plastering
and cement seemed to me well
indicated. That was what was
then simplest and the most easy
what!
intervenes -''The easiest?''
I – Well of course yes! Ha! of course it takes
nerve, provocation and promiscuity
the profession is overrun with these guys
of course! They work stripped to the waist,
muscle bare, and steaming sweat
... it's the only way ...
etc...
etc. the difficulties of the profession
e.g. the time it takes to negotiate the
mortgage… bank managers etc.
invaded by these guys ... you can not talk
directly of what you want them to prepare for you
one must take them by their feelings
compliments, the feeling of their
importance. Besides (pontificating tone)
the more the guy is locked out of life,
in a glass office, out of the action,
and more one must be a ''di-plo-mat''--
you see the kind of deluxe-guy, suit and
tie, after shave and everything
and blah-blah-blah ... etc.
but no, I do not want anything manager, I just want
PAGE 210
what I need to succeed etc., etc., etc. ...
- No but it seems
that you imagine that I lead
a double life, dam! ?
See if only two roles
could contain me!
I do not want to die without
having lived!
Two, three, four and five
Lives ... at least,
With all that is necessary not to
Show, what one should not say,
what is not done blah
blah in each gang
one must be part of at least
four, five gangs to be able to
exist a little, to be able to express oneself
almost normally, properly!
Ha! my friends if I had
experienced instruction!
My my! What a beautiful little
finicky graduate I would have been.
- Dam!
Wake up dam it
They are all there thinking that
we are eternal!
Where are you, you, my father
Where are you, you, my mother
What am I talking about, here,
is history
s-Not all our lives
we are not just history
damn it.
My mother, my father!! Where are you?
Don’t you see
that it is life that is passing,
PAGE 211
our only life, that belongs to us
(as for history, it will always be
there ... (low voice))
* - The two pictures 2 – to Robert - the girl and the bull
1 – the women and the offering
***** (End of the FILE ''performance; Women’s experimental theatre.'')
----------------------------------------
***** (Bio., page 973) (1981)
***** (FILE: Monique wrote this small book (''Art classes for seniors.'') for my grandmother,
she had asked Monique to give her an art class. Not living in the same city, it became difficult
to meet every week. So Monique wrote (manuscript) her method of teaching (including
discussions and exercises) in a small ‘’embellished’’ notebook and offered it to my
grandmother so that she could continue by herself while having time to time a phone
conversations . Monique and my grandmother had a spontaneous friendship at their very
first encounter. The essence of her method applies to all age groups; the presentation is
modified depending on the age group to whom it is addressed. Monique has also
observed that her method does not perform significantly if taught to children under
the age of ten. Note: I will respect the pagination of the text and also the line
changes.)
June 16, 1981
To Marie-Jeanne Stanton
my grandmother.
***** (Next page)
Art is a philosophy
and
painting
PAGE 212
is
a language.
***** (Next page)
Find pictures to say what you want to say.
(Next page)
1
First series
of exercises
HOW TO SEE
* Remember that
charcoal can make
wide lines
or thin lines, very
black or grey
pale or again
masses or
shadows
everything depends on
how you
apply it
and how hard you press. Use
fixative
***** (Next page)
To create is to
KNOW HOW TO CHOICE
KNOWING HOW TO DISTINGUSH
ONES THOUGHTS
***** (Next page)
PAGE 213
1. Choose a word
representing a
abstract thing
ex.:
Take this word as a
title to perform a
QUICK drawing in
charcoal.
2. Choose a word
representing a
concrete thing
ex.: Idem
3. Choose a word
representing a
concrete feeling
ex.: Idem
4. Choose a word
representing a
abstract feeling
ex.: Idem
***** (Next page)
OF WHAT ARE FILED
THE FORMS AND
SPACES
5. Take a square inch
of each of the
first four
drawings and enlarge them
to fill a hole
PAGE 214
page, as
if you were looking at it
through a microscope.
If you do not see
enough things on
your page, for it
not to seem empty, take
a bigger ''microscope'' and
enlarge more
***** (Next page)
another inch
of your test on an
other large
sheet
. You know you
could have chosen
anywhere
(the one inch)
on your first drawings to
to do your tests on
enlarging.
***** (Next page)
TO STRENGTHEN A SUBJECT
***** (Next page)
6. Finally, now choose
one
of your four themes
from the beginning, the one whose
subject means the
most to you
AND IN THE LIGHT of the
experience that you
just acquired,
do a painting
(colour) with this same
theme.
* Read notes on the following pages --
***** (Next page)
NOTES:
8 When I say:
‘’Taking up this theme again’’
in colour
for example,
it does not
mean to copy
the SAME picture,
but to keep
the same subject-theme
and make
another picture, as
to show another aspect
of the same
question.
***** (Next page)
* Gouache:
mix the basic colours
or
primary colours (red, yellow, blue)
to obtain
your secondary colours
(yellow + blue = green, red + blue = purple, yellow + red = orange).
* When you make a
mixture:
PAGE 216
ALWAYS start
with the paler colour
and add a very
***** (Next page)
small dose of
the darker colour
* good luck *
***** (Next page)
II
ART
Always dose your efforts:
one part reflection
and one part execution.
THE PHILOSOPHY OF
ART
***** (Next page)
You know that
seeing under the microscope
that is to say ‘’looking
closer''
you have discovered
many lines and
colours that are
not seen at a
first glance, the
hidden mysteries
that are in all
images, these secrets
***** (Next page)
PAGE 217
that the man of the
street does not see,
dose not know how to see
in nature
and in life,
but
that ‘’The-loving-eye-
on-the-world’’,
the eye of the heart and
imagination,
that can discover
this ‘’eye of the artist’’.
***** (Next page)
The work of the creating
artist is to show
using
lines, shapes and colours,
all that
his heart, his
imagination, his
sensitivity, his unique
personality
allow him to
perceive, capture,
imagine, but that in
***** (Next page)
practical life,
daily life
does not
always allow to
express.
***** (Next page)
PAGE 218
So, if the goal
of the craftsman (all
crafts, including
coking, knitting,
tapestry or forging iron
or working glass, etc. ...)
if the purpose of the craftsman
is to learn,
conserve and improve
a technique
to make a
beautiful product, good
and / or useful,
***** (Next page)
the purpose of
pure creation
like painting
for example is
a bit different.
*
The purpose of painting
is as follows:
using techniques,
if one has some
by inventing them,
***** (Next page)
if we do not have any
or if one does not feel like it,
if we fell like it,
and when we fell like it,
we try to express
what can not be said
but does
PAGE 219
exist.
For example:
a beautiful sunset
it can be photographed
BUT the feelings
***** (Next)
that one feels
before the sunset
and the ideas
that come to us then
as if this beautiful
sunset made us
precisely,
without
knowing why,
think of this or that ...
... one day the sunset
gives us a great
sense of peace
***** (Next page)
and serenity, at another
moment to the con -
contrary, it makes us
shiver as if
we felt worried,
…another
day, it makes us
remember
someone that we
loved strongly
for a moment long ago,
or an object whose
beauty we had noticed
***** (Next page)
at the
time, it was a
home, or…it was
a little coloured lace
along a
cloth or a clothing,
or…it was
a fir glimmering with
ice one winter ...
yes, yes ... we remember,
as a matter of fact it was
at sunset
and our
***** (Next page)
thought continues,
the images and
atmospheres arise in
succession.
What beautiful paintings
we can make
with all these
images!
and we see
that we are RICH
in images, rich
***** (Next page)
in creativity.
We believed that
one had to be a type of
austere genius
PAGE 221
to have images
in profusion as
the great painters
who have their head
full of them,
and here we
realizes that,
***** (Next page)
when one has a heart,
we can
be generous
and attentive to life,
to nature, to things
as well as people,
when we have guts,
and we are not
afraid to live and
confront experiences,
automatically
***** (Next page)
we collected
a rich experience
of sensations,
visions, ideas,
that by the simple
fact of making
our imagination work
a little to
think about it, is trans -
formed into a beautiful
large capital of
images that ask
only one thing:
PAGE 222
***** (Next page)
that we allow ourselves
to spend a little
time to recount them,
all these images,
that is to say
to draw them,
to paint them, to
colour them.
***** (Next page)
That is why I think it
is probably for
that reason that there are very
little child-prodigy
in art.
A little Mozart
occasionally
of course, but
especially dozens
and dozens
***** (Next page)
of older men and
older women
which have succeeded
into knowing ''what''
to paint, and ''what''
to compose
only later in life,
after having asked themselves
all their
life’s.
***** (Next page)
PAGE 223
If we are interested
in art since our
youth, if we
had the chance to
take some courses
that may have made
us understand
the meaning and purpose
of creation
since our youth,
***** (Next page)
we may
practice all
our life,
we will make
a lot of ‘’interesting’’
things,
but it is only
later that
we will succeed in
painting what
art critics or the
professor calls
***** (Next page)
‘’works of
maturity’’
because to make
works of ‘’maturity’’:
it takes
experience of life,
and maturity.
A young person who
wants to paint
PAGE 224
***** (Next page)
something
''Original''
that is to say
something personal,
how can he?
Where will he find
in himself his
choices and tastes? ...
The youth wants to be
personal but he
has a heart and an
***** (Next)
imagination that is new
and virtually pristine.
When he thinks he has
an original idea,
it is often only
a criticism of
the idea of someone
else.
The youth does
not easily accept the idea
that he does not have
***** (Next page)
experience; he believes
it's unfair
that he has
tastes that belong to him,
right now.
PAGE 225
So
when he believes he is
affirming one of his tastes,
often all that he does
is simply to
criticise
or reject a
***** (Next page)
tastes of his parents.
(I would never have
admitted that!
... If it was not that
I have a weakness
for you! ! ! !)
What this youth does
not yet known,
is that tastes
are not things
that one orders.
We can not do it
like that,
when one thinks
that he is big enough, and
decided to invent for
himself his own
***** (Next page)
tastes out of nothing.
ho! we try, we
do it, but
experienced people
look at us and
say, ''look, there she is,
PAGE 226
in another one of her
phases!''
Because the personality
***** (Next page)
that is our
own,
it is like
love and affection:
it happens to us ...
we can only acknowledge
our pleasures,
our sympathies
***** (Next page)
when one realizes them.
We can try to
explain them by
all kinds of theories,
it does not change
the fact, for
example, Robert and
I, even if we
spent our youth
in the same neighbourhood,
in the same
environment, often knowing
the same
***** (Next page)
people for over
ten years
it is only recently
that we
PAGE 227
noticed each other
and we
fell in love ...
... maybe it is
only recently that
we finally had
enough experience
to KNOW what
we loved.
***** (Next page)
It is for this
that when we
come to something
that touches so closely
human experience
as pictorial creation,
that it is such a great advantage
to having at first
LIVED as long as
possible.
***** (Next page)
Thus, it suffices
to know clearly
what painting is
and wanting to
give time to it
to be able
to find what
is good to paint.
***** (Next page)
A person of
experience has only
PAGE 228
to let himself go
and think a little
to find in herself
WHAT SHE FEELS,
the full range of
thoughts, of
emotions and
human dreams,
and then, there is no
other recipe
***** (Next page)
than to go and paint
AS it comes and
What comes.
***** (Next page)
In painting,
pride has no
place,
only truth
counts.
And we should not
mistaken: I mean
the truth and not
reality.
***** (Next page)
For to show
the world what is the
exact colour and
what is the exact form
of the sunset,
there is no
need to be an ‘’artist’’,
PAGE 229
that is to say for a women
of experience
it suffices to have a
good camera.
***** (Next page)
BUT,
to show
the world-who -
seeks, the young
above all, what it is
to live, what
it is to be a human
being that lives, that feels,
that senses, we must
have lived, each
day, for long,
and not have
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only the experiences
of such and such a thing
in particular, but the
real experience of what
it's like to live
a human life.
THIS message
which is
art’s, this gift
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from the artist
to take the
time to transmit
to us a bit of
his experience,
of his human
feelings
in regard to the
smallest as in
the greatest
things in life,
THAT'S THE REASON WHY
THEY SAY ABOUT ART
THAT IT IS
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ETERNAL.
While all the
schools and all the
universities in the world
only teach us
''things'',
techniques,
knowledge,
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art shows us
the Knowledge,
that youth
seeks so much.
Many young people and
often the most intelligent
leave their studies
nowadays, because after
a certain time, they
realize that the university
with all its panoply of
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sciences, absolutely does not
answer the questions
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that arise.
What is a person?
What is a rabbit, a
flower, a rock?
What is different
between a person and a
another creature in
nature?
What is my destiny, what
can I see in
life that my cat
cannot see?
Life is so complex when
we arrive in the world;
our parents are
learning to live and
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trying to succeed in taking care
of us, but we have the
impression that they do not
have the time to show us,
the apprentice-
humans, what it is to
live, because they
are too busy
living themselves.
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THE young person is in
the stage of
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questioning
The parent in
the stage
of action
Fortunately, nature is
well made because just at this
moment THE grandparent
is in the stage of what
I would call the
experience of life
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that is to say that
maturity has given to
the grandmother
the peace of mind
to know what she feels
concerning things and
people.
THE grandmother,
even if she does not know
''Why'',
she always knows whether
she likes or dislikes
something,
what she finds beautiful
and what she finds stupid.
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That is why the
grandmother can
paint what she
wants, because she knows
how to recognize what
she knows from
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what she does not
know.
Art paints what
is eternal in
the human heart,
the sentiments, the
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''feelings''.
And it is to
express and transmit
these simple interior
experiences
that are
however, the only
true wealth that
we accumulates by
living one's life,
since the beginning
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of time,
that men and
women
decided to
paint.
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What is
an artist?
It is someone
who decides to
express and
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transmit by lines
and colours
what he feels,
his experience
and his fantasy.
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That is
why, that as soon as
we decided to paint
‘’real painting’’,
we must stop
wasting our time
asking ourselves:
is it drawn
like this or
like that? Is this
the right line? Is this
the right colour?
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All lines
and all colours
are in
nature and
nature, it is
not only
what we see,
it is also everything
that we can
feel and imagine
with the soul, the heart
and the mind that
Creation has given us.
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PAGE 235
To honour the
possibilities of
thought that we
were given,
there is better
to do that to
waste our time
always erasing and
correcting each
line.
When we paint
with our heart and
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with our natural talent,
no matter
whether it is large
or small, clever
or awkward,
we must respect
the picture that
come out of our
fingers. Would we
see a mother
who would tell her
child who is
taking his first wobbly
steps say: ''Stay down,
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you walk too badly,
you will get up only
when you are good
enough to walk right!''
...we would laugh at her
PAGE 236
or we would say
that she is stupid, right?
Just imagine
that art has a heart,
that art is a
good mother or a
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good father who wishes
to see the beginning artist,
whoever he is, talk to him
and come towards him.
Whether we come to
art, dancing or
stammering, art
as the good mother
before her child,
will always be delighted.
For art as a
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mother, always
perfectly understands
the joy or the sadness
of her child as soon
as he opens his
eyes, if he
speaks or not.
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We understand
why great
painting masters
spent hours
and years
contemplating the same
sunset or
like the Japanese,
painting the same
flowers in
different
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atmospheres.
before just one
sunset,
a person-with -
long-experience
may have the idea
to paint
dozens of different
topics.
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III
Second series
of exercise
WHERE TO FIND''
OUR IDEAS''
Stimulate our imagination
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1.
Imagine that you
have a little girl of
PAGE 238
four years old.
This little girl who
has many uncles and
aunts, would have
been tolled many
classic stories
and tales.
One day, you
are alone with
her and to make her marvel,
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you tell her
an original story
that you made up
yourself.
You have all the gifts
and you can make
the child see the
wonderful world
where this is
happening.
ex. : Depict the ‘’ambiance’’
of magical beauty
in which
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your imagination
will draw
the child’s.
* Name your
painting
What is its title.
Technique:
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Work with gouache
by mixing
white with all
the colours you
are preparing.
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2.
You are
with a 7 year old
child.
He is your grandson.
Today, he is
calm and willing
to listen to you.
You, you're in
shape and ready to
undertake some
thing.
Knowing that
children stop only
for brief periods of time
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and that we must seize
the opportunities that
arise, the idea comes to
you to profit of this
occasion to undertake a
bit of ''education''.
You know that you're
grandson loves you,
and sometimes even prefers
you to his mother
that he accuses of
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‘’taking care of him’’ too much.
It is because even the nicest
mother in the world
is still the one
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that tells you to
pick up your toys, to come
and eat at the moment
where you are the busiest,
to take your bath
etc. ... the one that defends
things, corrects and controls,
while the grandmother
''is always
nice!''.
So not wanting
to lose you're privileged
status, you decide to
to talk with
him, nicely,
without severity,
in confidence
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and freedom, but
seriously all
the same.
You try to have with
him one of these
conversations ''that speaks
of life'' and that strike
small children.
You know those little
confidences that
grandmothers make on
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