Baroque Autumn: Autumnal Hare

 

"Man was caught between truth and illusion; life, perhaps, was merely a dream and the world was like a theatre which would split itself into many parts and the mask would become a face; a double-sided face which revealed the existence of opposites and man's constantly changing nature."

 

translated from Philippe Beaussant, Versailles, Opéra (p. 12)

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Now that autumn is well and truly here I find myself retreating back into my imagination more and more.  Ideas are dancing around my head and strange characters inhabit my sleep.  It's all good although a balance needs to be struck as ever with real life. For a few years now I have been quite fascinated by seventeenth-century performing arts and the term Baroque.  It's a difficult concept to pin down but that, I believe, is part of its charms. Elaborate, excessive, inconstancy, and make-believe are but a few defintions all sharply contrasted to sober rationality.  To understand the Baroque world is to enter a place where appearances are deceptive and the trompe-l'oeil becomes reality.  I love it but only as long as it remains distinct from my real world, you see. 

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When living in Normandy I had the good fortune to learn how to play the Baroque oboe with Jérémie Papasergio and his wife Elsa Frank (seen here in central place brandishing a baroque oboe).  Through these years of aching face muscles and dizzy spells (it is a very, very hard instrument to play: more on that at a later date, Sue and Annie) I struck up a friendship with this remarkable couple who, in turn, introduced me to a fascinating world of Baroque specialists.  The two pictures above are taken from the Baroque company Le Poème harmonique directed by the extremely dishy talented Vincent Dumestre.  Jémémie and Elsa regularly performed in Vincent's Baroque operas (as seen in the two pictures below) and, well, Héloïse and I had the good fortune to attend a few dress rehearsals at the Opéra Comique in Paris.

Whilst researching Baroque costumes this week I was particularly interested in a 1977 costume created for Jean-Philippe Rameau's opera Platée which was designed by Beni Montrésor (1926 - 2001).  Unfortunately I cannot reveal this costume to you today but, in true Baroque style, I fell into the enchanting , multifaceted world of Montrésor's children's book illustrations.

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There are many of Beni Montrésor's books available secondhand.  I urge you to take a look here; you will be both charmed and inspired by his artwork, I believe.

Finally, as we stepped out this morning, my husband and I, to take a few pictures of my first autumnal hare, I could not help but notice as the sky turned from lead to blue and the surrounding vegetation had turned from green to jewel-like colours, that autumn too, perhaps, could be accused of being Baroque.



It will come as little surprise to you all to learn that

 Mademoiselle Mellow Autumn

 the first of three autumnal hares to make an appearance here, was inspired by my passion for Baroque opera and also John Keats's poem "To Autumn".

Here she is:

Mademoiselle Mellow Autumn is warmly dressed and cheery-natured.  She revels in wandering through orchards, woodland, and gathering fruit and berries. She is also partial to sitting by the fire and sipping tea or hot chocolate which she ALWAYS drinks with tiny melted marshmallows.  If you would like to see more details about her pop over here although I should whisper in your ear now that she has already GONE!

I have knitted garments for her two friends from yarn called 'Homemade Jam', 'Embers', and 'Long Johns' for her friends.  Aren't those splendid names for autumnal colours? They will be introducted to you shortly.

Until then I really hope you haven't been too bored. 

I wish you ALL a beautfiul, tranquil weekend.

A bientôt,

Stephanie