ART GALLERY / This is my seventh picture from bracteates created between the late fifth and the middle of the seventh century AD, by the northern tribes, to disappear forever in that form today. Given the extraordinary originality representing these beings and symbols in contrast to all contemporary figures, I still alone in my bracteate approach. Of course, I have respected neither the original forms, or their presentation: the originals are always best! I simply adapted my way, here's the result I'll let you judge. Of course you need to know so little history of these bracteates to break inside the table and better understand their meaning. The legends of my previous paintings Art Gallery referenced P153, P154, 158-159 diptych, P162, P164 and P165 will help you as long as you are really interested? I join again after this text, as a reminder, a little condensed bracteate addressing the theme. Let's go a little bit in the table, knowing, and it is not obvious, when we learn that covers the hand of power of the Gods (Die Machthand der Götter) in the iconography of Odin *, with its cosmic dimension: I know you'll tell me that all this is indecipherable! Yes, for me as for you, with our contemporary mentality, but rest assured if I know a little more, it's only because I've tried to document any degree, compared to medievalists who have dealt the subject in depth, but, alas wonder and / or often contradict each other! Admittedly, the interpretation is difficult, given the runic writing this on bracteates, most often associated with magic and thereby, with a voluntary secret code? The letters appear to have no meaning if not the sole power of their presence, what we find in other cultures, to name only the Mesopotamians! Recall that these periods, very few people could read, and that the simple act of writing could see a de facto recognition to a divine message! All this rigmarole is, I admit, but this is yet the subject of my picture! More runic texts of the era still exist, are rare nowadays. On this table, next to my signature, I added Philhelm with its translation in old runic. But back to some details of my painting: the rider was taken aback a supernatural being unidentifiable at first, perhaps a dislocated birdman at the start? Anyway, when I was preparing my canvas with the staging of my different characters, by chance, (but there is no chance?) I was looking at a text quoting a phrase of Auguste Renoir who challenged me: “If women had been no nipples, I think I would have never made figures!” Once more, I added more suggestive shapes in my hybrid rider. When the singular and amazing horse, I have no words to evoke it, so I leave you free to criticize your wish! When the bird, he is so schematic that it becomes incredibly modern? Interlacing existing and unidentified became a snake by simply modifying both ends! The central symbol above could be toppled a tree of life, also reversed the Philhelm Monogram left seems to have escaped from the hands of our curious creature. You understand the true meaning of this composition remains an enigma if not a riddle? Having not rocket science, far from it, I expect aficionados bracteates gold to correct me and enlighten me more in the near future, to better and passed on to more curious you? For those who decide to invest in this problematic task, I invite them to read "Runeninschriften als Quellen interdisziplinärer Forschung" Posted by Klaus Düwel, Sean Nowak (reference bracteate: IK Gemarkung Dannau 571-C).
* Odin: or Wodan in old-Saxon or Wotan in Old High German.
Bracteate: A bracteate from the Latin “bractea" is a thin piece of metal. The imprint, struck by stamping on one side of a very thin metal blank is embossed on the face and hollow on the reverse. The term is used for both currencies for the medals. The pattern is always central, circular, and sometimes abstract for our understanding. The bracteate is almost always surrounded by a net cord or a series of zigzag friezes delicately worked. These jewels, which were attached to a chain around his neck (the Scythians and Celts wore torques) were manufactured primarily in Northern Europe, especially during the migration period we call the great invasions, or the Germanic Iron Age or Age of Migration in Sweden, including the period known as Vendel, or 550 to 793 AD, but the name was then popularized name for silver coins produced later and this, in Central Europe in the early Middle Ages. It also describes the coins of their neighbors: the Huns, but also those who invaded India'' s, in the style of Gupta and some Roman coins. Regarding the first creations of bracteates gold, their manufacture did not exceed 150 years between the late fifth century and the middle of the seventh, after the great influx of gold following the bags of Rome, that of 410 by the Visigoths and that of 455 by the Vandals. To date, there still exist a thousand bracteates gold, sometimes bronze, distributed in various museums and private collections. The first gold medallions were vague copies of Roman coins minted by the Roman emperors of the fourth century. However the evolution of figures moving away quickly from the Roman model and recomposed according to an aesthetic extremely confusing, perhaps related to Norse mythology, but it seems equally imaginary? Even the runic inscriptions on some medals seem to have no meaning except the magic words? The bracteates are often taken for amulets, some served as penny to Charon, placed in the mouth or the eyes of the dead! Regarding currencies bracteates, no runic legend is transcribed or translated in any way the coin legends in Latin, proof that the Norse did not attach any interest within the meaning of these, but only in their material aspect. Despite their appearance “monayform”, the runic bracteates seem absolutely independent of runic coins that appear only four centuries later! And to return to our table, as now, there are anthropomorphic woman at the center of this painting, it may be that the goddess Freyja, by the will of your favorite artist. Freyja was a goddess Vane of the tribe of the Veneti. She was one of the most popular goddesses of Norse pantheon, the god of love and beauty, but also the intimacy, the attraction between people, wealth, magic, earth, the fertility and war. It was for the Nordic equivalent of Venus and Aphrodite. It is for this reason that Freyja was considered the first of the Valkyries. Richard Wagner implement it in "Der Ring des Nibelungen."

This work has inspired JEAN-PAUL GAVARD-PERRET who wrote the French text below:
LA CAVALIERE HYBRIDE
Etait entrain de vivre en n’étant peu quoique bonne vivante. Comme chacune aurait pu faire quelque chose de bien et complètement si de son cheval était tombée. Mais n’écoutait que sa puissance. Etant une, elle était elle mais pas complète, complètement. Se prenant pour un ange. Quelqu’une entrain de vivre tant bien que mal, allant en chevauchant. Ni franche du collier, ni complètement royale. Ecuyère odalisque qui en amour pouvait plaire, mais jamais achevant pour anticiper la perte et le pas à avoir à se remettre en selle. Ce qu’elle faisait était parfois agréable sûrement même puisque certains disaient qu’ils trouvaient ça beau. Pourtant elle ne donnait pas l’essentiel, se retirant très vite dès qu’elle était à terre. Si bien que parler avec elle resta impossible. Déroutante sans doute. Complètement absurde au demeurant. Et en ligne de fuite, en percée victorieuse entre les rangs du même qu’elle refusa comme son peintre le refuse.
La stagnation est neutralisée par une échappée sans retour soulignée par la démarche bractéenne de Philhelm. Essor de la peinture s’accomplissant hors chrysalide. Et voici le voyeur désormais seul parmi les décombres du temps aux prises avec cette bouche de lumière, cette coque de joie rose ouverte susceptible de donner forme au désir, de l’éduquer plutôt par un tour de manège. Reste cette compétence jubilatoire de l’artiste à traquer la figure jusqu’aux limites extrêmes du temps. Parvenu à son terme il épanouit sa plénitude par ce retour amont. La surface plane se commue en profondeur au point d’apparaître comme une invention. Regard renouvelé en un point où la notion de rapport s’efface vers l’absolu d’une présence ineffable soustraite aux repères convenus de l’espace-temps. La cavalière est livrée à l’aventure de l’ineffable traversée. Projet de conquête. Objet de convoitise.