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“À quoi pensent les chinois en regardant Mona Lisa ?”

 

Christine Cayol et Wu Hongmiao - Ed. Tallandier, 2012
 
What see the Chinese and what do they think of us, our culture, when they visit our museums and admire our paintings(boards)? Of what do they think in looking at Mona Lisa's face or at that of the Virgin Mary? Why so much crucified Christ?

In the borders of the art history and the try(essay), this book takes the shape of a conversation between Christine Cayol, philosopher living in China, and Wu Hongmiao, dean of the University of French language in the university of Wuhan.
 
When China becomes a leading partner, it's time to understand what the Chinese seize with our civilization, and conversely …
 

“Je suis catholique et j'ai mal”

 

Christine Cayol - Ed. Seuil 2006
 
« I am Catholic.  It might have been otherwise.  I sometimes imagine myself in the world of Buddhism, or as a Muslim, a protestant, an orthodox Jew – but I am Catholic and up to now, I have never regretted it. The one thing that bothers me in the title ‘Catholic’ is that it means ‘universally so’. Universal; as in anything we seek to impose in the name of a superiority more or less avowed – and another name for fear. For me being Catholic does not lend itself to universality, even if I do feel joy within the walls of the Catholic Church the world over. For me being Catholic is not a conduit, nor a morality, even less so a quality: it simply comes under the heading of a joy.
Ever since becoming fully aware of my baptism, this joy has never left me. I am a Catholic, and I hurt. This is why I write. These pages are the journal of my pain, my revolt, but of my hope also. »
 
 

“L’intelligence sensible : Picasso, Shakespeare, Hitchcock, au secours de l’économie”

 

Christine Cayol - Ed. Village Mondial 2003
 
Picasso, Shakespeare, Hitchcock – rescuing what, exactly?
 
A rescue from the technocrat’s view of the world, which views the economy as its principal means of expression. A rescue from an economy which has lost sight of its original purpose and which has separated man from his culture and his sensitivity. A rescue for those who desire to live and work in a more human world.
 
 
 
 
In response to the roadblock of human organizations who promote financial profitability and technological ideology but who no longer believe that these things mean progress, Christine Cayol offers a new path through art, culture, and living.
 
Sensitivity, like thought, operates and is honed through confrontation with other points of view, other worlds, and other ideas. Christine Cayol draws on encounters with works of art to rehabilitate the sensitivity of the mind, and to reawaken awareness of this intelligence in her reader.

 

“Voir est un art : Dix tableaux pour s’inspirer et innover”

 

Christine Cayol - Ed. Village Mondial 2004
 
Of what use is art in our lives? In what way does it help us change our point of view on ourselves and on the world?
From Velazquez to Mondrian, from Caravaggio to Pollock, Christine Cayol presents the paintings of ten grand masters for our contemplation. Each is an opportunity to look into the singular vision which created it, and which illustrates a psychological, social and spiritual positioning: transgression, subversion, a daring to look further, taking risk, stepping back…all joined with the spirit of innovation.
 
Because this, indeed, is at issue: finding inspiration and renewal; and in doing so, to see differently, to have the courage to look inside a technique, a savoir-faire, and to dare the new vision of such an undertaking, perhaps even to innovate.
 
And if the artistic and human adventures offered are possible, it is because ‘something, certainly, is invented inside painting, but {something} that goes beyond the medium to reveal a relationship with the world, with others, and with life’.

 

L’art en Espagne 1936-1996

 

Christine Cayol - Nouvelles Editions Françaises 1996
 
The idea is to portray a structure: compelling by the richness and newness of its art, an art shaping its own definition in the complex pattern of history; compelling because it enables the outburst of a variety of individualities. More than a structure, it comes as a restless, lively collection that goes beyond time (…) »
  • Facing history: 1936-1939
  • Unable to forget: 1939-1957
  • Breaking free: 1957-1965
  • Foreign models and the Neofigurative movement 1960-1975
  • Individuality outburst: the multicoloured years 1975-1995