Full title: The Sky over the Louvre
Between 0 and 1: Zero (i.e. borrowed from local library)
The French Revolution is the backdrop of this first attempt
by Jean-Claude Carriere at writing a script for a graphic novel. The book
starts with Robespierre visiting the painter Jacques-Louis David while the
latter was perfecting his famous Marat Assassinated. David thinks he’s brought
religious art to a standstill by making Marat play the role of what had
previously been considered the monopoly of the Christ. The wounds, the naked
body, the head tilted to one side – all of this brings back the central image
of Christianity, piety and heroism and all. But there's a problem in the painting.
A problem quickly noticed by Robespierre who, riding the wave of the
Revolution, has been left with an emptiness to fill, as well as with a fullness
to empty. Unlike Christian icons, where the background is filled by swarms of
angels beating their wings to revitalize the air, in David's painting nothing work
to bring life back, nothing promises to lift the martyr to the Heavens.
"The new Heaven is empty, Maximilien," explains David. At which
Robespierre answers with a doubt that doesn't quite belong in any revolution:
"Too empty."
Author: Jean-Claude Carrière
Genre: Graphic Novel
Attributes: 72 pages, hardcover
Publisher: Louvre (2011)
Attributes: 72 pages, hardcover
Publisher: Louvre (2011)
August 1793, which coincides with the opening of the Louvre,
is also the time when this little boy from distant Khazaria, Jules Stern,
arrives in Paris slightly disoriented, searching for his mother. He sees
Robespierre delivering a speech, and then he hears David, the painter, who
fires a speech at the official opening of the Louvre:
"To paint the energy of a people that has burst from
the bonds of humankind, we must have proud colors, a vigorous style, a bold
brush, a volcanic genius!"
In this rhythm of change, art is made anew with the same
passion with which heads fall by the guillotine (the Widow, the beheader).
The young Khazar, the stranger who comes to see the truth of
the Revolution before its materialization, turns out to be the perfect model
for a symbolic project. As everything is new and without beginning, the
Revolution needs symbols. The Revolution needs an image to stand for its
newness. Jules’ perfect, androgynous beauty causes David to lose his focus. The
artist immerses himself in this project to the detriment of other, more “revolutionary”
projects, which would have required his verve and his talent with much more
force.
Based on Carrière's erudition, the book explores the time of
the French Revolution by singling out a set of events (some real, some
fictional) and by combing through concepts to find the ones that fit the
narrative ambition of the book.
Jean-Claude Carrière. Source: Quobuz |
This is no place to provide spoilers, so I won’t dwell into
that. The book in itself is rather brief. It doesn't take long to read it cover
to cover. Its brevity, though, allows for surprise to settle in with violence.
Suffice it to say that death and life (first the one, than the other) meet on
the page as they met in history. The characters partake in both of them with
equal passion, children of one great revolution, victim of its own voracity.
The Cult of the Supreme Being, the creation of Robespierre
and his idea of a Revolution, is perhaps the most prominent element in the book.
David, the artist, wants it to be a representation of beauty; Robespierre, the
ideologue, wants it as a representation of power. The two ideals clash with the
force of aesthetics opposing politics. In fact, they seem to be the same thing every
now and then, as art creates the icons needed for the adoration of political
idols.
The Sky over the
Louvre discusses utopias as well as more feasible, if hurtful, ideals. It
talks about beauty and about terror, about the symbolic order and about the
mechanics of ideology. It is a book of monsters and a book of historical
fictions. It is, in other words, an encyclopedic take on one of Europe’s most important
events. And it is, for these reasons at least, a book of admirable beauty.