#pierre bernard

[eirene]

Portrait of A Lady, 1745 Pierre Bernard

[oldschoolvillageidiot]

Another relic from the olden days when Stargate SG-1 was airing live, that the youths may not know about. When Conan O'Brien had his original show, he had a segment called Pierre Bernard's Recliner of Rage, where a very soft-spoken man ranted about nerdy stuff. One time he did an entire bit about Daniel Jackson leaving SG-1. At the end of the bit, Conan said, "I think there are maybe six people out there who know exactly what you're talking about." One of those six people actually worked for the show, or was somehow connected to it, and they got in touch with Conan. They loved the bit, and invited Pierre to come out and film a cameo. He's the technician (Sergeant O'Brien) at the end of Zero Hour, and they did a follow-up bit following him when he went to Vancouver to film it.

Original Recliner of Rage segment

Follow-up

[nogoop]

spent my whole life self-conscious about having niche, esoteric interests that nobody else in my peer group could relate to. It was othering and isolating.

means a lot to me, in a sentimental and vulnerable way, to see Conan O'Brien go big viral while eating hot wings. I used to record Conan and watch episodes back to back. Conan was like my church. He was smart and weird. He didn't mind debasing himself or being the butt of the joke (because he is in on it even if other people don't always realize); his persona involves a unique flavor of subversive confidence that I found instructive.

A lot of confidence and personality is about feedback loops. Unfortunately, too many people never get the feedback they need to properly develop, whether that's due to nature, nurture, environment, etc. Using humor as a maladaptation to hack this process is nothing new, but Conan's persona is unique even among the very best in that he is the butt of the joke and simultaneously it's okay if you don't get it, totally fine, in fact that's even better. This is like drawing blood from a stone. It doesn't make sense, shouldn't work, and yet it does.

That's a big contrast from traditional comedian types who desperately need you to get the joke to laugh with them and performance art types like Sacha Baron Cohen, Colbert Report Era Stephen, or Nathan Fielder, among whom it's better if you don't get the joke because that means the joke is on you and even funnier.

Whether it's Pierre Bernard, Jordan Schlansky, or Conan himself, a recurrent theme of his show was letting your freak flag fly, putting on a spectacle to make fun of yourself, then miraculously deriving confidence from the process. I'm moved by Conan smearing hot sauce all over his face while laughing manically on a multimillion-view video. makes me feel validated even though Conan already taught me it's fine if nobody really gets you.

[philoursmars]

Marseille. La Bastide Borély, siège du Musée des Arts Décoratifs, de la Faïence et de la Mode.

Il y a là-bas l'expo "Infiniment Bleu" :

robe de cocktail "Eldorado", collection "Université" - Givenchy 1957

calot - La Sartan 1993

collier-plastron - fin XXe s.

Pierre Bernard - "Portait de jeune femme en bleu" ; chaise en forme de cordage, du Studio Nadar de Marseille, 1850 ; cache-corset

ensemble

anonyme - "Portrait d'un jurisconsulte" - mi-XVIIIe s.

[jeannepompadour]

Maria Anna of Austria by Pierre Bernard, 1763

[aisakalegacy]

Printemps 1924, Hylewood, Canada (4/14)

Je suis incrédule devant ces histoires de sarcophage. Constantin a offert à sa grand-mère une tombe égyptienne ? Quelle horreur… Cela me fait penser à une histoire de quand j’étais petite. J’ai connu trois de mes grands-parents. Il n’y a que ma grand-mère maternelle qui était déjà morte avant ma naissance. Son mari mon grand-père est mort quand j’avais huit ans, et sur la fin de sa vie, alors qu’il était très malade et qu’il vivait son dernier été, j’étais allé lui cueillir un bouquet de fleurs que je lui avais offert en avance pour mettre sur sa tombe. Ma logique d’enfant était qu’il fallait que je m’y prenne tout de suite, car je n’étais pas certaine qu’il y aurait encore des fleurs lorsque l’hiver viendrait et qu’il serait mort… Maman était blême et m’avait longuement disputée. Heureusement, Grand-Père l’avait pris avec humour et avait salué mon esprit pratique… A sa façon, Constantin se comporte encore comme un enfant de huit ans. J’admire le fait que vous osiez lui dire quand vous n’êtes pas d’accord avec ses décisions.

Vous dites que je prends la main dans mon mariage, mais je ne crois pas que ce soit le cas. Je ne suis pas comme vous, je n’y arrive pas. Ce n’est pas moi qui gère les finances, c’est le vieil oncle Joseph, celui qui est évêque de Kingston. C’est toujours lui qui a eu la main dessus, et je n’oserais jamais les lui disputer, je ne saurais pas faire. Je sais que je devrais m’affirmer, mais je n’y arrive pas… Ma mère m’a élevé pour être une bonne épouse chrétienne, qui soutient son mari inconditionnellement. J’ai réussi à m’opposer à lui pour lui rappeler qu’il ne remplissait pas sa promesse devant Dieu, quand j’ai découvert l’existence de Layan et de sa fille. Mais je ne me sens jamais dans mon bon droit pour lui émettre des critiques ou des reproches, et si un jour j’y arrivais, s’il élevait un peu la voix ou s’il m’opposait un désaccord, je pense que je ferais immédiatement marche arrière…

[Transcription] Georges Rumédier : Tu es ravissante, aujourd’hui. Marie LeBris : « Aujourd’hui » ? Tu sous-entends que c’est inhabituel ? Georges Rumédier : Euh, non, je… Eugénie LeBris : Ça fait deux ans qu’il lui fait la court, elle pourrait ben se montrer plus fine… Jules LeBris : Pourquoi faire ? Elle a seize ans, vous n’allez quand même pas déjà la marier. Ou vous aussi vous allez devenir comme la grand-mère Le Bris de France ?

[setdeco]

ANTTI LOVAG & Pierre Bernard, La Maison Bernard, Théoule-sur-Mer, France, 1975-89

[books0977]

Portrait of the Archduchess Elisabeth of Austria (1763). Portrait of the Archduchess Marie Anne of Austria (1763). Pierre Bernard (French, 1704-1777). Pastel and gouache on vellum. Norton Simon Museum. The two pastels represent two of Marie-Antoinette’s sisters, both of whom later became abbesses of powerful convents—a suitable alternative to marriage for noble women. Here, Pierre Bernard depicts the sisters as youthful women, dressed in flounces of ribbon and lace that were fashionable among younger courtly elite. Bernard, like other leading pastellistes of his day, exploited the properties of the medium to achieve stunningly naturalistic fabric texture. The women’s soft, glowing flesh tones are made all the more convincing due to the fact that pastel crayons were made of the same pigments and minerals used to make cosmetics. In the eighteenth century pastel grew in popularity because it allowed artists to achieve an opaque matte finish and utilized soft bright colors preferred by Rococo taste at the time.