Seine d'amour © Levaillant 2015
Traduction "esprit(s) de Seine"
I’ll admit you, i’ve a fondness for the Seine
I’ll confess to you I love it when she’s in her bed
On her concave sides
On her slim curves
I stride along her beaches, her shores
On her convex sides
From the summits of her hillsides I notice her curves
On her towpath I brush past her lands wet or wooded
I love her ebb, her flow
That incessant coming and going
Which caress her banks
As soon as I leave her, I put her on scene
I love her colours, her fruity aromas
Her banks planted with delicious orchards
At dawn her mists fragment the first light of day
At midday, her reflections, arouse themselves, beneath the sun’s zenith
At sunset her waters are kissed by a thousand fires
At dusk her flow shivers under the moon
At midnight, the streetlights and beacons
Chart her vast estuary
As soon as I’m distant, I put her on scene
Sometime of Eure, Sometime of Seine Maritime
Between the Flowered Coast and the Alabaster Coast
The Seine floods the bay with brackish waters
Which dissipate into salty waters
As soon as I meet her, I put her on scene
Seine d’amour (Love Seine) © Levaillant 2015
Le portrait by Pascal Levaillant
This wasn't a first for me. In the past, several people have sketched me, with paper and pencil, taken my photograph and today, painted me.
Il liked the experience. We started first, Olivier Desvaux and myself, by choosing Caudebec-en-Caux as the setting.
I always mention this part first because my portrait is part of a serie called "spirits of the Seine" which puts into context the fact that the Seine is represented on the canvas.
Setting the scene, or should I say "Seine", was as important as the theme a portrait).
With this in mind I wore my normal, everyday, clothes and my straw hat that I like to wear when I go walking, apart from when it's windy.
I loved the sitting that we did on the quay at Caudebec-en-Caux next to tjhe signpost I created along with other artists from the first biannual 'The Art of Driftwood' in 2014.
I would have also opted for the beach at Villequier where I gather, or collect, or glean, but the light seemed better to us on the quay at Caudebec-en-Caux.
The sitting was rather epic, what with the wind toppling over the big parasol that the artist was using and the gusts that twice blew my hat into the waters of the Ambion. Olivier had to fish my hat out twice using his parasol and I managed to find a way to fix down the parasol so that it wouldn't blow over again. We couldn't have shown more team spirit in getting the portrait done.
I had total confidence in Olivier, I've seen the portrait nealrly-finished ans it's 100% me, I approve of it unreservedly, it's likeness taht I like.
What was magic were the tacit moments punctuated by discussion, a conversation other than about painting itself, about continually crossing and holding each other's gaze.
Seeing myself through Olivier's eyes I feel its an appropriation of my being, of my vitality.
I complete let myself go, I felt in total confidence, thanks to Olivier's talent ans charisma. That all helped create a true rapport. I'm stillenthusiastic and impatient, which is true of all great experiences ans high points, to see the results in a large format, I sincerely believe the real magic of this portrait is in the genuine encounter between us.
Traduction dans le cadre de l'exposition "esprits de Seine" by Olivier Desvaux 2016
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