{"id":901,"date":"2022-02-03T23:25:32","date_gmt":"2022-02-03T22:25:32","guid":{"rendered":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=901"},"modified":"2023-01-18T08:56:23","modified_gmt":"2023-01-18T07:56:23","slug":"seuils-n2-les-fenetres-dedward-povey-2020","status":"publish","type":"post","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=901","title":{"rendered":"SEUILS N\u00b02 : Les fen\u00eatres d&rsquo;Edward Povey                                                                   2020"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized is-style-rounded\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"450\" data-permalink=\"https:\/\/ferbos-jeanfrancois.legtux.org\/?attachment_id=450\" data-orig-file=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?fit=2192%2C2062&amp;ssl=1\" data-orig-size=\"2192,2062\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"self-portrait-EDLL\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?fit=640%2C602&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL-1024x963.jpg?resize=141%2C132&#038;ssl=1\" alt=\"\" class=\"wp-image-450\" width=\"141\" height=\"132\" srcset=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?resize=1024%2C963&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?resize=300%2C282&amp;ssl=1 300w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?resize=768%2C722&amp;ssl=1 768w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?resize=1536%2C1445&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?resize=2048%2C1927&amp;ssl=1 2048w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?w=1280&amp;ssl=1 1280w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/self-portrait-EDLL.jpg?w=1920&amp;ssl=1 1920w\" sizes=\"auto, (max-width: 141px) 100vw, 141px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Huile sur toile &#8211; 114&#215;146 cm<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour toute information sur l\u2019\u0153uvre; prix, livraison etc. Merci de vous adresser \u00e0 : <a rel=\"noreferrer noopener\" href=\"mailto:jf.ferbos@wanadoo.fr\" target=\"_blank\">jf.ferbos@wanadoo.fr<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-dailymotion wp-block-embed-dailymotion wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Les fen\u00eatres d&#039;Edward Povey : Seuil n\u00b02\" frameborder=\"0\" width=\"640\" height=\"359\" src=\"https:\/\/geo.dailymotion.com\/player.html?video=x8dd5fx&#038;\" allowfullscreen allow=\"autoplay; fullscreen; picture-in-picture; web-share\"><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Les fen\u00eatres d&rsquo;Edward Povey de Pr\u00e8s<\/figcaption><\/figure>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\">Les fen\u00eatres d&rsquo;Edward Povey est un hommage au travail de cet immense artiste qu&rsquo;est Edward Povey. Faisant r\u00e9f\u00e9rence aux fen\u00eatres ouvertes sur le monde par Leon Battista Alberti parlant du cadre d&rsquo;un tableau ou d&rsquo;une fresque (De Pictura 1435), cette toile constitue un seuil, un espace de cr\u00e9ation dans \u00ab\u00a0linframince\u00a0\u00bb. C&rsquo;est \u00e0 dire que ne pouvant s&rsquo;extraire de la r\u00e9p\u00e9tition provoqu\u00e9e par la citation, de la continuit\u00e9 et de la dette envers l&rsquo;histoire de l&rsquo;art, un mouvement g\u00eete en cet espace \u00e0 partir d&rsquo;un acte de cr\u00e9ation qui op\u00e8re dans la singularit\u00e9. Il constitue \u00ab\u00a0un pas de sens\u00a0\u00bb, sans r\u00e9f\u00e9rent, mais un \u00ab\u00a0pas de sens\u00a0\u00bb furtif et ineffable. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00ab\u00a0Seuils N\u00b02 : les fen\u00eatres (finestra)\u00a0\u00bb(146&#215;114). Le mouvement d\u2019un acte de cr\u00e9ation, hommage \u00e0 <strong>Edward Povey<\/strong>. qui lui aussi peut \u00eatre une muse. <\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\"><em>\u00ab D\u2019abord j\u2019inscris sur la surface \u00e0 peindre un quadrilat\u00e8re \u00e0 angles droits aussi grand qu\u2019il me pla\u00eet, qui est pour moi en v\u00e9rit\u00e9 comme une fen\u00eatre ouverte \u00e0 partir de laquelle l\u2019histoire repr\u00e9sent\u00e9e pourra \u00eatre consid\u00e9r\u00e9e ; puis j\u2019y d\u00e9termine la taille que je souhaite donner aux hommes dans la peinture. Je divise la hauteur de ce m\u00eame homme en trois parties, que je fais proportionnelles \u00e0 cette mesure appel\u00e9e vulgairement \u00ab bras \u00bb\u00bb<\/em> <strong>Leon Battista Alberti, <em>De Pictura<\/em>, Paris, Seuil, p. 83, 85<\/strong>. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Selon Daniel Arasse, Leon Batista Alberti \u00e9crit dans son trait\u00e9 De pictura (1435) que le tableau est \u00ab\u00a0comme une fen\u00eatre \u00e0 partir de laquelle on peut contempler l&rsquo;histoire.\u00a0\u00bb Cette histoire, qui n&rsquo;est pas le monde, mais une image contemplative, est contenue dans un cadre qui la renferme, mais qui, \u00e0 partir du 15e si\u00e8cle est peu \u00e0 peu transgress\u00e9 par les peintres. Cette transgression servait souvent \u00e0 diff\u00e9rencier les r\u00e9alit\u00e9s du tableau, comme le montre l&rsquo;escargot peint sur l&rsquo;Annonciation de Francesco del Cossa (Dresden, Gem\u00e4ldegalerie Alte Meister) ou la mouche sur le Portrait de Chartreux de Petrus Christus (New York, Metropolitan Museum of Art), courant qui commen\u00e7a avec la Trinit\u00e9 de Masaccio (Firenze, S. Maria Novella).<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"492\" data-attachment-id=\"768\" data-permalink=\"https:\/\/ferbos-jeanfrancois.legtux.org\/?attachment_id=768\" data-orig-file=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=2560%2C1966&amp;ssl=1\" data-orig-size=\"2560,1966\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"POVEY-NIKON2-WEOART\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=640%2C492&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=640%2C492&#038;ssl=1\" alt=\"SEUILS n\u00b02 : Les fen\u00eatres d'Edward Povey - 2020\" class=\"wp-image-768\" srcset=\"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?w=2560&amp;ssl=1 2560w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=300%2C230&amp;ssl=1 300w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=1024%2C787&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=768%2C590&amp;ssl=1 768w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=1536%2C1180&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?resize=2048%2C1573&amp;ssl=1 2048w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?w=1280&amp;ssl=1 1280w, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?w=1920&amp;ssl=1 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><figcaption class=\"wp-element-caption\">Les fen\u00eatres d&rsquo;Edward Povey<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">SEUILS N\u00b02 : Les fen\u00eatres d\u2019Edward Povey<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Huile sur toile114x146 cm 2020<\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\"><em>\u00abDe fait, notre travail consiste non \u00e0 d\u00e9fendre des limites imperm\u00e9ables, mais \u00e0 \u0153uvrer sur leurs lisi\u00e8res pour d\u00e9cider \u00e0 chaque fois o\u00f9 se trouve la jointure. Travail \u00e9puisant, local, qui n\u2019a pour guide que quelques orientations \u00e9thiques. \u00bb<\/em>. <strong>CIFALI M<\/strong>., 2020, <em>Tenir parole. Responsabilit\u00e9s des m\u00e9tiers de la transmission<\/em>, Paris, PUF.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Edward Povey<\/strong> s\u2019approche au plus pr\u00e8s de la question du sujet et notamment en ce qui concerne la question de sa disparition ou dissolution \u00e9vanescente. Il y a, avec ce sujet-l\u00e0, celui que la psychanalyse appelle le sujet de l\u2019inconscient. La psychanalyse pose l\u2019hypoth\u00e8se de son \u00ab\u00a0<em>aphanisis<\/em>\u00a0\u00bb ce qui pourrait signifier qu\u2019il est insaisissable sauf \u00e0 n\u2019\u00eatre, en son essence, que pur mouvement. Cette saisie n\u2019est donc possible qu\u2019un seul instant. Cet aspect-l\u00e0 vient au plus pr\u00e8s de ce qu\u2019Edward Povey nomme fr\u00e9quemment les fant\u00f4mes et les apparitions d\u2019une vie int\u00e9rieure \u00e9nigmatique et hors sens. \u00c0 ce titre, son \u0153uvre peut \u00eatre assimil\u00e9e, je ne crois pas me tromper, \u00e0 la peinture en tant qu\u2019acte de peindre. Un acte disparu aussit\u00f4t agi et dont les r\u00e9sidus \u00e9nigmatiques de la repr\u00e9sentation n\u2019offrent de prises qu\u2019\u00e0 l\u2019interpr\u00e9tation. Edward Povey cultive le d\u00e9sir du regardeur et le maintient en mouvement face \u00e0 cette qu\u00eate perdue d\u2019avance, de retrouver un acte mythique de cr\u00e9ation. Il nous apprend ainsi que cr\u00e9er c\u2019est perdre. Mais de cette perte rena\u00eet sempiternellement le d\u00e9sir du peintre comme celui du regardeur. Il cultive donc la force de l\u2019\u00e9nigme et nous invite \u00e0 notre tour, \u00e0 inaugurer nos propres fictions, sugg\u00e9r\u00e9es par la puissance \u00e9vocatoire de ses repr\u00e9sentations. Avec ses \u0153uvres, il n\u2019est pas question d\u2019une signification, mais plut\u00f4t d\u2019une mise en mouvement par les \u00e9motions (<em>\u00ab Peindre, c\u2019est toujours faire voir le feu sous la cendre \u00bb<\/em>, <strong>Jean-Marie Pontevia<\/strong> <em>\u00ab\u00a0La peinture masque et miroir. \u00c9crits sur l\u2019art et pens\u00e9es d\u00e9tach\u00e9es\u00a0\u00bb<\/em>, \u00e9ditions William Blake &amp; Co 1981). Edward Povey nous laisse donc au seuil, dans un entre-deux temporel \u00e9ph\u00e9m\u00e8re. Forte exp\u00e9rience que celle-ci. Pour <strong>Edmond Jabes<\/strong> <em>\u00ab\u00a0Le seuil c\u2019est peut-\u00eatre la mort\u00a0\u00bb<\/em>. Je pense, quant \u00e0 moi, que le seuil est un moment, non pas un lieu, une fulgurance insaisissable aussit\u00f4t qu\u2019aper\u00e7ue. Il s\u2019apparente \u00e0 une formation de l\u2019inconscient et nous entra\u00eene vers une exp\u00e9rience du retard (Le retard \u00ab\u00a0verrien\u00a0\u00bb de Duchamp) et de l\u2019imperceptible comme raison m\u00eame de la cr\u00e9ation. C\u2019est en ce point, selon une modalit\u00e9 assez oppos\u00e9e \u00e0 Duchamp, qu\u2019Edward Povey \u0153uvre pour agir dans l\u2019inframince, sur le regardeur. Un regardeur averti devrait avoir beaucoup \u00e0 faire face aux tableaux d\u2019Edward Povey. Il faut avant tout d\u00e9jouer le patent et le spectaculaire qui oriente notre interpr\u00e9tation de l\u2019image puis se laisser saisir par l\u2019\u00e9nigmatique t\u00e9nuit\u00e9 qui se joue au seuil de notre perception. Mais est-ce suffisant ? Je ne crois pas car vient ensuite un mouvement de g\u00eete, entre apparition et disparition, qui fonde la force saisissante de son travail.<\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\"><strong>Edward Povey<\/strong> is nearing to the closest of the subject issue, and notably the concern of its disappearance or evanesent dissolution.This subject calls for what psychoanalysis names the subject of the unconscious.Psychoanalysis hypothesizes its \u00abaphanisis\u00bb and that could mean it is imperceptible unless it is pure movement by nature .Therefore this perception is only possible in a single instant.Indeed, this appproach comes very close to what Edward Povey often calls the ghosts or spectres of an enigmatic and nonsense inner life. From that point of view,I &nbsp;believe , rightfully I think, that his work can be assimilated to painting as an action .An action that disappears as soon as it is acted leaving only enigmatic remains of the representation which can only be grasped through interpretation.Edward Povey entertains the onlooker&rsquo;s desire and the permanance of movement when confronted to the unattainable quest to find a mythical creative act .This is how he tells us that to create is to lose.Nonetheless,the onlooker&rsquo;s and the painter&rsquo;s desires eternally rise from this loss.Therefore he cultivates the power of enigmas, he engourages us to initiate our own fictions .those fictions that are suggested by the evocative power of his representations.His works &nbsp;are not a matter of meaning, rather a setting in motion through emotions ( \u00ab Painting always means showing the fire under ashes \u00bb Jean-Marie Pontevia \u00abLa peinture masque et miroir ,Ecrits sur l&rsquo;art et pens\u00e9es d\u00e9tach\u00e9es\u00bb editions William Blake &amp; co 1981)Edward Povey keeps us on the threshold in an ephemeral and temporal in-between.And this is as strong an experience as it can be. In Edmond Jabes&rsquo; s words \u00abThe threshold may be death \u00bb I personnally think the threshold is a moment, not a place, it is a flash that cannot be captured when it is flimsily seen\u2026It is to be compared with the construction of the unconscious and it leads us towards an experience of delay (Duchamp&rsquo;s glass delay ) and the imperceptible as being the true reason for creation.At that point and in a way rather contradictory to Duchamp&rsquo;s, Edward Povey manages to act on the onlooker through the infrathin.An experienced onlooker should have plenty to discover when confronted with Edward Povey&rsquo;s paintings.First of all we must foil the obvious and the spectacular that guide our interpretation of the picture and let ourselves being submited to the enigmatic subtlety that linger on the treshold of our perception.But then, is it sufficient ? I don&rsquo;t believe so, because still to come is the list movement that alternate appearence and disappearance which is a base for the striking power of his work. &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Texte JF Ferbos, traduction Jacques Gu\u00e9rin.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Huile sur toile &#8211; 114&#215;146 cm Pour toute information sur l\u2019\u0153uvre; prix, livraison etc. Merci de vous adresser \u00e0 : jf.ferbos@wanadoo.fr Les<\/p>\n<p class=\"link-more\"><a class=\"myButt \" href=\"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=901\">Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":768,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[27,24,45],"tags":[],"class_list":["post-901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jean-francois-ferbos","category-les-oeuvres-de-jean-francois-ferbos","category-videos-des-oeuvres"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=2560%2C1966&ssl=1","jetpack-related-posts":[{"id":1963,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1963","url_meta":{"origin":901,"position":0},"title":"L&rsquo;ATELIER &#8211; Jean-Fran\u00e7ois Ferbos","author":"Cravan","date":"9 octobre 2022","format":false,"excerpt":"En train de peindre Seuil N\u00b06 : Le mazzocchio Une histoire de famille et un hommage \u00e0 Jean Sabrier avec le Mazzocchio. https:\/\/youtu.be\/I0hFsM9UDFA L'Atelier","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/10\/IMG_5793-scaled.jpg?fit=1200%2C900&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/10\/IMG_5793-scaled.jpg?fit=1200%2C900&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/10\/IMG_5793-scaled.jpg?fit=1200%2C900&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/10\/IMG_5793-scaled.jpg?fit=1200%2C900&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/10\/IMG_5793-scaled.jpg?fit=1200%2C900&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2944,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=2944","url_meta":{"origin":901,"position":1},"title":"The Future &#8211; Mars 2025","author":"Cravan","date":"6 mars 2025","format":false,"excerpt":"Huile sur toile 81x100 cm https:\/\/youtu.be\/an2fL4HgVqM","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/03\/THE-FUTURE-DETAIL-1-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/03\/THE-FUTURE-DETAIL-1-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/03\/THE-FUTURE-DETAIL-1-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/03\/THE-FUTURE-DETAIL-1-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/03\/THE-FUTURE-DETAIL-1-2-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":3061,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=3061","url_meta":{"origin":901,"position":2},"title":"Ceci n&rsquo;est pas un coureur&#8230;","author":"Cravan","date":"18 juillet 2025","format":false,"excerpt":"... peut-\u00eatre une cavali\u00e8re avec son cheval? Huile sur toile 50x61 cm Jean-Fran\u00e7ois Ferbos 2025 Un homme est en train de courir dans une for\u00eat. Ses arbres, tendus vers le ciel tels les cordes d'une harpe, viennent faire coupure dans une continuit\u00e9 spatiale, rythmant ainsi la foul\u00e9e d'une course impossible.\u2026","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/07\/DETAIL-2-CECI-N-EST-PAS-UN-COUREUR-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/07\/DETAIL-2-CECI-N-EST-PAS-UN-COUREUR-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/07\/DETAIL-2-CECI-N-EST-PAS-UN-COUREUR-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/07\/DETAIL-2-CECI-N-EST-PAS-UN-COUREUR-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/07\/DETAIL-2-CECI-N-EST-PAS-UN-COUREUR-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1814,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1814","url_meta":{"origin":901,"position":3},"title":"Les palmes","author":"Cravan","date":"29 mai 2022","format":false,"excerpt":"Huile sur toile - 90x90 cm - mai 2022 Collection priv\u00e9e","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/05\/LES-PALMES-NIKON-DETAIL1-leger-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/05\/LES-PALMES-NIKON-DETAIL1-leger-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/05\/LES-PALMES-NIKON-DETAIL1-leger-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/05\/LES-PALMES-NIKON-DETAIL1-leger-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/05\/LES-PALMES-NIKON-DETAIL1-leger-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2874,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=2874","url_meta":{"origin":901,"position":4},"title":"STREAM OF CONSCIOUSNESS PARTIE 2 &#8211; 2024","author":"Cravan","date":"31 octobre 2024","format":false,"excerpt":"Huile sur toile 81x100 cm Jean-Fran\u00e7ois Ferbos Huile sur toile partie 2 d'un diptyque (Partie 1 STREAM OF (UN)CONSCIOUSNESS), repr\u00e9sentant de mani\u00e8re m\u00e9taphorique la circulation de mots, qui viennent en se bousculant spontan\u00e9ment dans les pens\u00e9es. Un paysage londonien de bord de Tamise, figure dans l'une des bulles (pour parler\u2026","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2024\/10\/LAP-STOC-DETAIL-5-scaled.jpg?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2024\/10\/LAP-STOC-DETAIL-5-scaled.jpg?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2024\/10\/LAP-STOC-DETAIL-5-scaled.jpg?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2024\/10\/LAP-STOC-DETAIL-5-scaled.jpg?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2024\/10\/LAP-STOC-DETAIL-5-scaled.jpg?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":3086,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=3086","url_meta":{"origin":901,"position":5},"title":"AU MUS\u00c9E &#8211; 2025","author":"Cravan","date":"30 octobre 2025","format":false,"excerpt":"Huile sur toile 81x100 cm Jean-Fran\u00e7ois Ferbos \u0152uvre r\u00e9aliste et onirique sur laquelle un personnage mouill\u00e9 et en maillot de bain sort d\u2019un tableau repr\u00e9sentant l\u2019oc\u00e9an, accroch\u00e9 dans un mus\u00e9e. Un vieil homme en pleine visite est stup\u00e9fait de voir ce personnage sortant de la toile qu\u2019il est en train\u2026","rel":"","context":"Dans &quot;Jean-Fran\u00e7ois Ferbos&quot;","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/10\/AU-MUSEE-DETAIL3-LEGER-scaled.jpg?fit=800%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/10\/AU-MUSEE-DETAIL3-LEGER-scaled.jpg?fit=800%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/10\/AU-MUSEE-DETAIL3-LEGER-scaled.jpg?fit=800%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2025\/10\/AU-MUSEE-DETAIL3-LEGER-scaled.jpg?fit=800%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/901","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=901"}],"version-history":[{"count":10,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/901\/revisions"}],"predecessor-version":[{"id":2142,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/901\/revisions\/2142"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/media\/768"}],"wp:attachment":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=901"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=901"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}