Victor Brauner no longer need to be presented, especially since you know my two previous tables: Tribute to V.B., ref. P133 year 2007 and a nod to V.B., ref. P160 year 2010. My series in memoriam continuous in music played and sung by perhaps a Navajo goddess! Very surreal, certainly, especially when the musical score comes from the fourteenth century. Proceed in order not to lose ourselves in this hodgepodge “philhelmien”: Returning to the goddess of the rainbow which was presented to me not long ago by compassionate Gods who were willing to visit me again! But that will still be interested in the Navajo deities or YEI, in the third millennium? You my friends? You, who have a quick look? You my readers? The length of a song? YEI Navajo deities known (or YEII) are depicted in sand paintings created specifically as part of healing rituals or harmonization such as the path of blessing. Sand paintings for Navajo means "Place or the Gods come and go." The colors contain all the colors of the rainbow; they come from different elements as colored crushed rocks, roots, flowers, sand, bark, ash and coal. These paints dry grounds and conducted according to specific principles, are both sacred because they are the vehicle of the Gods ephemeral, since they are destroyed at the end of the healing ceremony. Indeed, these sand paintings are made by medicine men, who once painting is complete and sacred uses it to coat parts of the patient's body by rubbing, thus destroying the cause of the imbalance. Australian Aborigines and the monks with their mandalas of Tibet are much closer to Navajo than we thought! Today to allow laymen that we discover their art, these representations are woven into carpets or painted on canvas in approximations voluntarily non-sacred. Thus discover the functions and symbolism YEI stylized human form, and static front, transformed by your artist Philhelm. YEI goddess of the rainbow in the sky encloses other YEI in a kind of three-sided frame, the opening through which the mind can move (in our case it will be music) being at the top or East. This protective goddess who symbolizes the path that the YEI between heaven and earth, is shown as a colored. Victor Brauner would not have disowned! What about the musical score? Music lovers will recognize the former as it is on the «With a compass was I composed… » written in old French and scored on a circular bearing of Baude Cordier was born in 1364 at Reims and died about 1440. Baude Cordier was a representative composer of French "Ars subtilior". We know little about this musician, his music was known in Italy, because we found some of his works in manuscripts of northern Italy. It is possible that Cordier was a pen name of Baude Fresnel. It is learned that he was fond of using the notation of red notes (there are seven red notes in the score as we are concerned!) This notation known as coloring is a technique from the general practice of mensural notation: the color change adjusts the pace of a particular note of his usual form. These models and types of musical notation were also named "manières" (mannered notation). Although at first glance all the black keys and red do not appear immediately, it is only due to the use of interference colors, for all notes in the painted designs. You can see them with a raking light or moving to the table. You will see that the black notes to interfere in purple and red glowing. Oh those artists, that we do not do they do? To get to the bestiary dear to Victor Brauner. He is now with the singing bird life, the dog who listens, the two fishes head to tail and the cat watches every move. About bestiary, I just do the math: Of the approximately 150 paintings, I admit I've painted over 50 dogs, so many birds, not counting nearly 300 different animals, not including the many anthropomorphic scattered throughout my works. Without ever having been a wildlife artist, having never lived in the country and never had pets in the city, I confess love Victor Brauner since my childhood. Amazing is not it? What has been will be again, what has been done will be done again; there is nothing new under the sun.
Your Philhelm would it become ecclesiast*?
* One that addresses the crowd

For those who wish to be reminded who was Victor Brauner, here is a brief biography:
Victor Brauner was born June 15, 1903 in Romania Piatra Neamtz, in the Carpathians. He died March 12, 1966 in Paris. In 1907, because of riots in Moldova, the Brauner family immigrated to Hamburg. At the beginning of the Balkan war in 1912, the family went into exile in Vienna. Victor Brauner will remember the passage of Halley's Comet, a sign for some of the world's end. In 1914 the family moved to Bucharest Brauner. Since childhood Victor Brauner assists covertly at séances held by his father, passionate about occultism. He is then confronted the world of the unusual and wonderful. Victor Brauner began painting in 1917 while attending school in Braila and evangelical passion for zoology. In 1919, he enrolled at the School of Beaux Arts in Bucharest. His works, considered scandalous, do it quickly ruled out. On September 26, 1924 his first exhibition takes place in Bucharest. Victor Brauner participates in the movement of the "Romanian Dada" until 1930. He moved to Paris in 1930 where he is greeted by his friend and compatriot Constantin Brancusi. Close to Giacometti and Tanguy, Brauner officially joined the Surrealist group in 1932. In 1933, Yves Tanguy presents André Breton, René Char and Brauner meeting. In 1934, he practiced automatic drawing and painted many pictures in which the theme of the eye again and again. The same year he had his first exhibition in Paris at the Galerie Pierre. On 28 August 1938, during an altercation between Dominguez and Esteban Frances, Victor Brauner lost his left eye. Brauner is placed under house arrest in 1940. The following year, he realizes, for lack of means, his first drawings to the candle that give birth later to paint with wax. In 1965, Brauner represents France at the Venice Biennale. Premonitions painter Victor Brauner creates unusual images and fanciful figures. He borrows from primitive art and the occult for expressing universal archetypes. Two sentences summarize: "My painting is autobiographical, it tells my life. And my life is exemplary because universal. "And" Paint that's life, true life, my life." Dixit Victor Brauner.

This painting was inspired by Jean-Paul GAVARD-PERRET with the following:

"La musique est sans limite c’est pourquoi le corps porté au rouge l’entoure.
La musique ça ne ressemble rien de visible : le corps lui fait face. Cela suffit.
La musique est le premier animal visible de l'invisible
Elle s’est retirée sur ses terres, elle ne s'est pas laissé immobiliser entre deux fausses éternités.
Elle avance doucement à travers les pétales de la lumière blessée - empreintes de cendres et parfums de mars.
La musique se respire, sa caresse, se porte aux lèvres. Cherche à recueillir les murmures les plus lointains.
La musique libère sans guérir de nos tremblements. Le corps se tord sous ses coups de pioche dans l'irrémédiable.
Elle finit par dénuder les racines les plus secrètes. L’obscurité qui en elle possède une épaisseur diaphane.
Elle se vit avec le cri de nos oiseaux. (Le rêve serait de pouvoir le faire avec l'impossible sans savoir que c'est l'impossible).
Clartés et ombres, quelque chose répand la lumière comme une lueur d'été dans les capillaires d’un arbre. Invisibles essaims."
(Silence, Long silence après l’image et ses sons en écho).
Jean-Paul Gavard-Perret.