Prosper MERIMEE Carmen 1930
Prosper MERIMEE Carmen 1930
First edition.
Our book is quite precious as it is a copy of the "Pepper and Salt" collection, by Editions Kra. We find colour illustrations on the first course, as well as in the heart of the book. The drawings are of a particularly vivid colour giving life to Spain.
Carmen forms the third volume of the second series of the "Poivre et Sel" collection, executed under the direction of Albert Noiret; Dubout's line drawings have been enhanced with stencil by the Ateliers D. Jamomet in Paris.
Summary: "In Spain, in Seville. Arrested following a quarrel, Carmen, a gypsy with a fiery temperament, seduces Brigadier Don José, Micaëla's fiancé, and promises him his love if he helps her escape. Don José frees Carmen, and is imprisoned in his turn. He finds her two months later among the smugglers. For her, José becomes a deserter, and chained to his devouring passion for Carmen, pursues her with his jealousy. The bohemian eventually pushes him away, and only Micaëla manages to bring José back to his dying mother's bedside. Carmen's final encounter with Don José takes place in front of the Arena in Seville. While she waits for her new lover, the bullfighter Escamillo, José tries, in a final confrontation, to convince Carmen to come back to him. In despair, Don José begs, implores, threatens, but she, brave, refuses outright: he stabs her, before confessing his crime in front of the crowd. "(in Opera-online).
It is with great humour and "satirism" that Dubout presents this tragic story. The beautiful Carmen is transformed into a fat, reddish lady, while Don José is portrayed as a frail man in a blue suit. We find one of his fetishes that certainly makes the reader laugh. One can perceive his ever-present taste for the creation of a singular atmosphere that mirrors an era or a region. There is a real research and details in the outfits, hairstyles and decorations. We can also underline his already present affection for bullfighting, with a beautiful illustration on two pages, which he will continue to explore in his later works "Les Corridas" of 1967.
Original edition. Parisl, Editions Kra, 1930. In-12, paperback, numbered editions from 1 to 1000 on bank vellum, ours is a non-commercial copy, colour illustration on the first cover, under plastic, 37 colour illustrations and two in black and white, a few slight tears on the paper, top and bottom spine discreetly consolidated with adhesive tape, distended notebooks, 144 pages untrimmed.
Albert Dubout (1905-1976) was asked to illustrate classical texts by Editions Kra as early as 1929, a daring choice on the part of the latter, which surprisingly entrusted him with the illustration of classical texts. A path that he would force him to follow in these aesthetic choices, sometimes forcing him to stick to the text. Dubout will notably assert that the work of "mirroring the text" done for "Clochemerle" did not please him. In contrast to the drawings he did for the newspapers, this editorial formula was close to his heart. "There was much greater freedom of means than in the tyrannical press cartoon. It is understandable, for example, that the always hasty deadlines of the newspaper editors did not suit this cartoonist who liked to represent a thousand different heads on his paper, to add new accessories and to constantly tweak them" (in MELOT Michel, "Dubout", Edition Michèle Trinckvel, Montrouge, 1979).
"He is certainly one of the most influential artists of a whole generation of draftsmen and illustrators" (in Dubout.fr) and as such possesses recognizable characteristics such as a rounded line, colourful compositions that compliment the funny aspect of the scenes of life he depicts. Unwittingly heir to Jerome Bosch, Dubout embellishes his productions with a large number of characters participating in both the micro-stages and the main action. These attributes are complemented by a taste for saucy, caricatural and sometimes tumultuous illustrations, making his characters endearing, such as those in The Little Man and The Big Lady. The latter are not without recalling his affection for his native region, the South of France, and particularly Marseille.
Dubout is a "made in France" product par excellence: regionalist, authentic, bon-vivant, educated and talented. He was a student at the Beaux-Arts in Montpellier, then moved to Paris. He is passionate about the crowds of department stores and transport, which he loves to sketch and caricature. He published his first drawings in "Pêle-Mêle", then collaborated with various magazines and newspapers such as "Ric et Rac", "Marianne", "La Bataille" and "Ici Paris". Dubout also produced posters for cinema, advertising and theatre such as the one for Marcel Pagnol's "César". His passion for cinema is tenacious, he directed several animated films "Anatole fait du camping" and "Anatole à la tour de Nesle" in 1947 and feature films "La Rue sans loi" in 1950 and "Anatole chéri" in 1954.
Albert Dubout" illustrated more than 80 books, the last of which appeared after his death. He published 27 albums and created 80 cinema and advertising posters. In addition, he created 70 oil paintings including the famous Corridas with their lights and shadows and the Bullfighters" (in Dubout.fr).
Automatically translated by DeepL. To see the original version, click here.
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Prosper MERIMEE Carmen 1930
First edition.
Our book is quite precious as it is a copy of the "Pepper and Salt" collection, by Editions Kra. We find colour illustrations on the first course, as well as in the heart of the book. The drawings are of a particularly vivid colour giving life to Spain.
Carmen forms the third volume of the second series of the "Poivre et Sel" collection, executed under the direction of Albert Noiret; Dubout's line drawings have been enhanced with stencil by the Ateliers D. Jamomet in Paris.
Summary: "In Spain, in Seville. Arrested following a quarrel, Carmen, a gypsy with a fiery temperament, seduces Brigadier Don José, Micaëla's fiancé, and promises him his love if he helps her escape. Don José frees Carmen, and is imprisoned in his turn. He finds her two months later among the smugglers. For her, José becomes a deserter, and chained to his devouring passion for Carmen, pursues her with his jealousy. The bohemian eventually pushes him away, and only Micaëla manages to bring José back to his dying mother's bedside. Carmen's final encounter with Don José takes place in front of the Arena in Seville. While she waits for her new lover, the bullfighter Escamillo, José tries, in a final confrontation, to convince Carmen to come back to him. In despair, Don José begs, implores, threatens, but she, brave, refuses outright: he stabs her, before confessing his crime in front of the crowd. "(in Opera-online).
It is with great humour and "satirism" that Dubout presents this tragic story. The beautiful Carmen is transformed into a fat, reddish lady, while Don José is portrayed as a frail man in a blue suit. We find one of his fetishes that certainly makes the reader laugh. One can perceive his ever-present taste for the creation of a singular atmosphere that mirrors an era or a region. There is a real research and details in the outfits, hairstyles and decorations. We can also underline his already present affection for bullfighting, with a beautiful illustration on two pages, which he will continue to explore in his later works "Les Corridas" of 1967.
Original edition. Parisl, Editions Kra, 1930. In-12, paperback, numbered editions from 1 to 1000 on bank vellum, ours is a non-commercial copy, colour illustration on the first cover, under plastic, 37 colour illustrations and two in black and white, a few slight tears on the paper, top and bottom spine discreetly consolidated with adhesive tape, distended notebooks, 144 pages untrimmed.
Albert Dubout (1905-1976) was asked to illustrate classical texts by Editions Kra as early as 1929, a daring choice on the part of the latter, which surprisingly entrusted him with the illustration of classical texts. A path that he would force him to follow in these aesthetic choices, sometimes forcing him to stick to the text. Dubout will notably assert that the work of "mirroring the text" done for "Clochemerle" did not please him. In contrast to the drawings he did for the newspapers, this editorial formula was close to his heart. "There was much greater freedom of means than in the tyrannical press cartoon. It is understandable, for example, that the always hasty deadlines of the newspaper editors did not suit this cartoonist who liked to represent a thousand different heads on his paper, to add new accessories and to constantly tweak them" (in MELOT Michel, "Dubout", Edition Michèle Trinckvel, Montrouge, 1979).
"He is certainly one of the most influential artists of a whole generation of draftsmen and illustrators" (in Dubout.fr) and as such possesses recognizable characteristics such as a rounded line, colourful compositions that compliment the funny aspect of the scenes of life he depicts. Unwittingly heir to Jerome Bosch, Dubout embellishes his productions with a large number of characters participating in both the micro-stages and the main action. These attributes are complemented by a taste for saucy, caricatural and sometimes tumultuous illustrations, making his characters endearing, such as those in The Little Man and The Big Lady. The latter are not without recalling his affection for his native region, the South of France, and particularly Marseille.
Dubout is a "made in France" product par excellence: regionalist, authentic, bon-vivant, educated and talented. He was a student at the Beaux-Arts in Montpellier, then moved to Paris. He is passionate about the crowds of department stores and transport, which he loves to sketch and caricature. He published his first drawings in "Pêle-Mêle", then collaborated with various magazines and newspapers such as "Ric et Rac", "Marianne", "La Bataille" and "Ici Paris". Dubout also produced posters for cinema, advertising and theatre such as the one for Marcel Pagnol's "César". His passion for cinema is tenacious, he directed several animated films "Anatole fait du camping" and "Anatole à la tour de Nesle" in 1947 and feature films "La Rue sans loi" in 1950 and "Anatole chéri" in 1954.
Albert Dubout" illustrated more than 80 books, the last of which appeared after his death. He published 27 albums and created 80 cinema and advertising posters. In addition, he created 70 oil paintings including the famous Corridas with their lights and shadows and the Bullfighters" (in Dubout.fr).
Automatically translated by DeepL. To see the original version, click here.
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