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L'Homme au chapeau rouge
L'homme au chapeau rouge représente le troisième volet de cette histoire personnelle du sida amorcée par À l'ami qui ne m'a pas sauvé la vie, et poursuivie dans Le protocole compassionnel. Cette fois le narrateur, identique, ose à peine prononcer le nom de sa maladie. Pour la tromper, ou l'oublier, il se lance à corps perdu dans la recherche, le marchandage et l'acquisition de tableaux.
Il va se trouver emporté - et l'enchevêtrement de son récit avec lui - dans une double histoire de faux, dont est victime le peintre grec Yannis, et de kidnapping d'un expert arménien, Vigo, qui dénonçait justement les faux dans les grandes ventes de Sotheby's ou de Christie's à Londres ou à New York.
Dès qu'on commence à vouloir parler ou se mêler de peinture, on est inévitablement confronté à ce problème du vrai ou du faux, qui est peut-être au cœur de tous les livres d'Hervé Guibert. Deux couples hantent ce nouveau livre : le peintre Yannis et sa femme Gertrud, que l'écrivain va poursuivre jusqu'à Corfou, le marchand de tableaux Vigo et sa sœur Lena, avec laquelle Guibert va aller à Moscou, sur les traces de son frère mystérieusement disparu.
Car cet "homme au chapeau rouge" est aussi un chasseur de peintres. Depuis quinze ans, il pourchasse Bacon et Balthus, jusqu'en Suisse ou à Venise ; pour leur arracher quels secrets ?
Il va se trouver emporté - et l'enchevêtrement de son récit avec lui - dans une double histoire de faux, dont est victime le peintre grec Yannis, et de kidnapping d'un expert arménien, Vigo, qui dénonçait justement les faux dans les grandes ventes de Sotheby's ou de Christie's à Londres ou à New York.
Dès qu'on commence à vouloir parler ou se mêler de peinture, on est inévitablement confronté à ce problème du vrai ou du faux, qui est peut-être au cœur de tous les livres d'Hervé Guibert. Deux couples hantent ce nouveau livre : le peintre Yannis et sa femme Gertrud, que l'écrivain va poursuivre jusqu'à Corfou, le marchand de tableaux Vigo et sa sœur Lena, avec laquelle Guibert va aller à Moscou, sur les traces de son frère mystérieusement disparu.
Car cet "homme au chapeau rouge" est aussi un chasseur de peintres. Depuis quinze ans, il pourchasse Bacon et Balthus, jusqu'en Suisse ou à Venise ; pour leur arracher quels secrets ?
196 pages, Paperback
First published January 1, 1992
1 person is currently reading
96 people want to read
About the author
Hervé Guibert
55 books207 followers(Saint-Cloud, 14 décembre 1955 - Clamart, 27 décembre 1991) est un écrivain et journaliste français. Son rapport à l'écriture se nourrit pour l'essentiel d'autobiographie et d'autofiction1. Il est également reconnu comme photographe et pour ses écrits sur la photographie.
Hervé Guibert est issu d’une famille de la classe moyenne d’après guerre. Son père est inspecteur vétérinaire et sa mère ne travaille pas. Il a une sœur, Dominique, plus âgée que lui. Ses grand-tantes, Suzanne et Louise, tiennent une place importante dans son univers familial. Après une enfance parisienne (XIVe arrondissement), il poursuit des études secondaires à La Rochelle. Il fait alors partie d’une troupe de théâtre : la Comédie de La Rochelle et du Centre Ouest. Il revient à Paris en 1973, échoue au concours d'entrée de l’Idhec à l'âge de 18 ans.
Homosexuel, il construit sa vie sentimentale autour de plusieurs hommes. Trois d’entre eux occupent une place importante dans sa vie et son œuvre : Thierry Jouno, directeur du centre socioculturel des sourds à Vincennes rencontré en 1976, Michel Foucault dont il fait la connaissance en 1977 à la suite de la parution de son premier livre La Mort propagande et Vincent M. en 1982, un adolescent d’une quinzaine d’années, qui inspire son roman Fou de Vincent. Il est un proche du photographe Hans Georg Berger rencontré en 1978 et séjourne dans sa résidence de l’Ile d’Elbe.
Il est pensionnaire de la Villa Médicis entre 1987 et 1989, en même temps qu'Eugène Savitzkaya et Mathieu Lindon. Ce séjour inspira son roman L'Incognito.
En janvier 1988, il apprend qu’il est atteint par le sida. En juin de l’année suivante, il se marie avec Christine S., la compagne de Thierry Jouno. En 1990, il révèle sa séropositivité dans son roman À l'ami qui ne m'a pas sauvé la vie - qui le fait connaître par ailleurs à un public bien plus important. Cette même année il est l'invité de Bernard Pivot dans Apostrophes. Ce roman est le premier d'une trilogie, composée également du Protocole compassionnel et de l'Homme au chapeau rouge. Dans ces derniers ouvrages, il décrit de façon quotidienne l'avancée de sa maladie.
Il réalise un travail artistique acharné sur le SIDA qui inlassablement lui retire ses forces, notamment au travers de photographies de son corps et d'un film, La Pudeur ou l'Impudeur qu'il achève avec la productrice Pascale Breugnot quelques semaines avant sa mort, ce film est diffusé à la télévision le 30 janvier 1992.
Presque aveugle à cause de la maladie, il tente de mettre fin à ses jours la veille de ses 36 ans. Il meurt deux semaines plus tard, le 27 décembre 1991, à l'hôpital Antoine-Béclère. Il est enterré à Rio nell'Elba près de l'ermitage de Santa Catarina (rive orientale de l'Ile d'Elbe).
Les textes d'Hervé Guibert se caractérisent par la recherche de simplicité et de dépouillement. Son style évolue sous l'influence de ses lectures (Roland Barthes, Bernard-Marie Koltès ou encore Thomas Bernhard, ce dernier "contaminant" ouvertement le style de A l'ami qui ne m'a pas sauvé la vie).
Hervé Guibert compose de courts romans aux chapitres de quelques pages, qui se fondent souvent sur des faits biographiques maquillés de fiction. Le lecteur est saisi par l'intrigue brutalement exposée (ainsi dans Mes parents), et appuyée par des passages au vocabulaire sophistiqué ou par des descriptions crues de tortures ou d'amours charnelles. Ce texte est en grande partie extrait de son journal intime publié en 2001 chez Gallimard (Le Mausolée des amants, Journal 1976-1991).
Il travaille avec Patrice Chéreau avec qui il coécrit le scénario de L'Homme blessé qui obtient le César du meilleur scénario en 1984, mais aussi avec Sophie Calle. Journaliste, il collabore dès 1973 à plusieurs revues. Il réalise des entretiens avec des artistes de son époque comme Isabelle Adjani, Zouc ou Miquel Barceló qui fait plus de 25 portraits de lui. Il écrit des critiques de photographie et de cinéma au service culturel du journal L
Hervé Guibert est issu d’une famille de la classe moyenne d’après guerre. Son père est inspecteur vétérinaire et sa mère ne travaille pas. Il a une sœur, Dominique, plus âgée que lui. Ses grand-tantes, Suzanne et Louise, tiennent une place importante dans son univers familial. Après une enfance parisienne (XIVe arrondissement), il poursuit des études secondaires à La Rochelle. Il fait alors partie d’une troupe de théâtre : la Comédie de La Rochelle et du Centre Ouest. Il revient à Paris en 1973, échoue au concours d'entrée de l’Idhec à l'âge de 18 ans.
Homosexuel, il construit sa vie sentimentale autour de plusieurs hommes. Trois d’entre eux occupent une place importante dans sa vie et son œuvre : Thierry Jouno, directeur du centre socioculturel des sourds à Vincennes rencontré en 1976, Michel Foucault dont il fait la connaissance en 1977 à la suite de la parution de son premier livre La Mort propagande et Vincent M. en 1982, un adolescent d’une quinzaine d’années, qui inspire son roman Fou de Vincent. Il est un proche du photographe Hans Georg Berger rencontré en 1978 et séjourne dans sa résidence de l’Ile d’Elbe.
Il est pensionnaire de la Villa Médicis entre 1987 et 1989, en même temps qu'Eugène Savitzkaya et Mathieu Lindon. Ce séjour inspira son roman L'Incognito.
En janvier 1988, il apprend qu’il est atteint par le sida. En juin de l’année suivante, il se marie avec Christine S., la compagne de Thierry Jouno. En 1990, il révèle sa séropositivité dans son roman À l'ami qui ne m'a pas sauvé la vie - qui le fait connaître par ailleurs à un public bien plus important. Cette même année il est l'invité de Bernard Pivot dans Apostrophes. Ce roman est le premier d'une trilogie, composée également du Protocole compassionnel et de l'Homme au chapeau rouge. Dans ces derniers ouvrages, il décrit de façon quotidienne l'avancée de sa maladie.
Il réalise un travail artistique acharné sur le SIDA qui inlassablement lui retire ses forces, notamment au travers de photographies de son corps et d'un film, La Pudeur ou l'Impudeur qu'il achève avec la productrice Pascale Breugnot quelques semaines avant sa mort, ce film est diffusé à la télévision le 30 janvier 1992.
Presque aveugle à cause de la maladie, il tente de mettre fin à ses jours la veille de ses 36 ans. Il meurt deux semaines plus tard, le 27 décembre 1991, à l'hôpital Antoine-Béclère. Il est enterré à Rio nell'Elba près de l'ermitage de Santa Catarina (rive orientale de l'Ile d'Elbe).
Les textes d'Hervé Guibert se caractérisent par la recherche de simplicité et de dépouillement. Son style évolue sous l'influence de ses lectures (Roland Barthes, Bernard-Marie Koltès ou encore Thomas Bernhard, ce dernier "contaminant" ouvertement le style de A l'ami qui ne m'a pas sauvé la vie).
Hervé Guibert compose de courts romans aux chapitres de quelques pages, qui se fondent souvent sur des faits biographiques maquillés de fiction. Le lecteur est saisi par l'intrigue brutalement exposée (ainsi dans Mes parents), et appuyée par des passages au vocabulaire sophistiqué ou par des descriptions crues de tortures ou d'amours charnelles. Ce texte est en grande partie extrait de son journal intime publié en 2001 chez Gallimard (Le Mausolée des amants, Journal 1976-1991).
Il travaille avec Patrice Chéreau avec qui il coécrit le scénario de L'Homme blessé qui obtient le César du meilleur scénario en 1984, mais aussi avec Sophie Calle. Journaliste, il collabore dès 1973 à plusieurs revues. Il réalise des entretiens avec des artistes de son époque comme Isabelle Adjani, Zouc ou Miquel Barceló qui fait plus de 25 portraits de lui. Il écrit des critiques de photographie et de cinéma au service culturel du journal L
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Displaying 1 - 6 of 6 reviews
December 26, 2025
3,5/5
Embora seja dito que O homem de chapéu vermelho de Guibert seja tal como uma metáfora da convivência com o HIV, que está presente na obra, devo dizer que, apesar das idas e vindas da narração, o livro prendeu-me mais do que eu esperava, menos pelas questões relacionadas ao seu amigo pintor, Yan, típica figura egocêntrica e comandada por suas mesquinhezas de grande artista, mas sim mais por suas relações com Lena, a marchande armênia. Ainda bem que Guibert não resolveu tomar o caminho da escrita empolada e empoada de seu "amigo que não lhe salvou a vida", Michel Foucault.
Et on y va !
Embora seja dito que O homem de chapéu vermelho de Guibert seja tal como uma metáfora da convivência com o HIV, que está presente na obra, devo dizer que, apesar das idas e vindas da narração, o livro prendeu-me mais do que eu esperava, menos pelas questões relacionadas ao seu amigo pintor, Yan, típica figura egocêntrica e comandada por suas mesquinhezas de grande artista, mas sim mais por suas relações com Lena, a marchande armênia. Ainda bem que Guibert não resolveu tomar o caminho da escrita empolada e empoada de seu "amigo que não lhe salvou a vida", Michel Foucault.
Et on y va !
October 29, 2025
Pretty astounding that there are only three reviews on GR for this novel in any language and I wonder if this is a sign of Guibert's current standing in the UK? USA? France? or everywhere? I don't know, I didn't read Guibert in the early millennium years when copies of his works were almost standard stock in charity bookshops in the more left-leaning areas of London I lived in. I deliberately didn't read him because I felt I had missed that 90s momemt of AIDS and the inner city literary/arts movement which Guibert and writers like David Wojnarowicz were presented as personifying (please see my footnote *1 Below). I felt it, and they, were not simply over but as lost as the pomp and splendour Nineveh and Tyre (thank you Rudyard Kipling).
I decided recently that the time had come to read Guibert and settled on this novel, his penultimate book and published after its death, because I didn't want to read 'To the Friend Who Did Not Save My Life' or 'The Compassion Protocol' the best known of Guibert's works available in English (please see my footnote *2 below). The reason was my inability, currently, to read almost any of the literature of the AIDS era and these two works by Guibert's are seminal 'European' AIDS texts (please see my footnote *3 below). Those novels, like so much AIDS writing are, for me, trapped in the particularities of their time. I find it hard to separate literature from reportage of the historical record. I don't believe in 'disease' as a metaphor and it is certainly not as a 'muse' as one fatuous New Yorker writer described Guibert 'relationship' to AIDS. Historically aside from some 'dance macabre' paintings what did the Black Death bring to Art? The 'Spanish Flu' killed more people and disrupted more lives than WWI yet produced nothing in art or literature and despite their number I don't see any of the COVID novels lasting a decade never mind a generation. Again I would refer to the link in my footnote *1.
'The Man in the Red Hat' is, sort of, a companion piece to 'The Friend Who Did Save My Life' and 'The Compassion Protocol' (though unlike those novels which, even before recent republication, were relatively easy to find second hand 'The Man in the Red Hat' is currently an almost impossible to acquire the novel, at least in English. As of January 2025 there are still no copies, in English, on any bookseller or book selling site that I can find. It is also the most expensive 110 pages of text I have ever bought). But unlike them it is not about the treatment of, living with or dying of AIDS. It is a work of 'Autofiction' so the narrator has AIDS but his having AIDS is not any part of the story except in terms of practical logistics involving living and travelling. The novel is about:
"(an author who) throws himself headlong into the search, bargaining and acquisition of paintings.
(and) find(s) himself swept up...in a double story of forgery, of which the Greek painter Yannis is the victim, and of the kidnapping of an Armenian expert, Vigo, who was...denouncing...forgeries in the major sales at Sotheby's or Christie's in London or New York...Two couples haunt this new book: the painter Yannis and his wife Gertrud, whom the writer will pursue to Corfu, the art dealer Vigo and his sister Lena, with whom Guibert will go to Moscow...Because this "man in the red hat" is also a hunter of painters. For fifteen years, he has been chasing Bacon and Balthus, all the way to Switzerland and Venice; to wrest what secrets from them?"
Like all Guibert's work, and indeed much serious French literature, it is very brief (barely 110 pages) there isn't really time to get bored or dissatisfied with this novel. Indeed although the 'storylines' involving the artist Yannis (of which more later) and Lena are the main 'narrative' the parts dealing with Guibert's interactions with the painters Francis Bacon and Balthus, particularly Balthus, are the most compelling. But equally they pose the problem I have with the entire 'Autofiction' genre:
"An autofiction is a work of truth; the author is not hiding behind an invented character, she/he is that character. The character’s spiritual and philosophical quest is the author’s own; the “I” of the narrative is the author, recreating the world according to his or her own experience. She/he delivers the truth, without altering or falsifying the facts, as if putting together a police report..."
said French author Nina Bouraoui in an article in the Guardian newspaper in 2020 (see: https://www.theguardian.com/books/202...). So how true are the 'facts' in 'The Man in the Red Hat'? Did Balthus really provide Guibert the information on the fates of the famous Blanchard children in his most, currently, controversial paintings? and what of the Greek painter 'Yannis' who most, thanks to 'Skyland' by Andrew Durbin, people seem to think was the painter Yannis Tsarouchis but is in fact the Spanish painter Miquel Barcelo (see my footnote *4 below).
[The fact that Miquel Barcelo remained so long hidden behind the nome de plume Yannis while Michael Foucault was so readily revealed to be 'Muzil' in 'The Friend Who Did Not Save My Life' suggests that it was less a case of Guibert 'betraying' confidences of Foucault as providing the excuse for others to spill secrets they had long wanted to about Foucault.]
Guibert, and probably other self-identifying, practitioners of Autofiction never claims that he "...delivers the truth, without altering or falsifying the facts, as if putting together a police report..."
so how do you review a novel that can be both 'true' and fiction? If someone describes something that is a 'real' experience (and I do realise how problematic my terminology is) it can only be said to be well or badly told. It is not possible to say it is absurdly improbable, a cliche, overwrought, sentimental, etc. How you criticise fiction is different to how you critique a memoir. By confusing the two Autofiction, for me, is a case of having your cake and eating it.
I enjoyed 'The Man in the Red Hat' and I will read more of Guibert's works but not the previous volumes in this 'trilogy'. I don't regret it but would not recommend anyone else pay the circa $75.00 I spent on the novel. There are plenty of other books out there that are more worth buying. What I think of Guibert will probably not become clear until I read the two other works of his I have on order 'My Vincent' and 'Written in Invisible Ink'. For the moment I give this novel three stars because I am undecided.
*1 I do realise that the difference between the way writers like Guibert and Wojnarowicz are presented, particularly in English language media, and what they actually were is immense. In the case of David Wojnarowitz I would recommend the following interview with Dennis Cooper who has some very interesting and insightful things to say about Wojnarowitz and many other things:
http://www.novembermag.com/content/de....
*2 It is difficult to talk about any of Guibert's work in isolation from his most notorious work 'the Friend Who Did Not Save My Life' and I would recommend reading the following from Dennis Cooper's blog: https://denniscooperblog.com/spotligh.... If it appears I am revealing a predilection for the opinions of Dennis Cooper that is correct. Cooper is not only a great fiction writer but a brilliant commentator on literature.
*3 'The Friend Who Did Not Save My Life' was savagely attacked by NYC Act-Up (and by its French wing under Didier Lestrade see https://medicalhealthhumanities.com/2...) but I always agreed with Gore Vidal that American Act-Ups insistence on building their fight around a 'Gay' identity was failing to see the broader systemic issues regarding access to health care in the USA. That Act-Up disappeared once effective AIDS related treatments became available for those who were the majority of Act-Up members (younger, white, professional middle class gay men who could afford the new drugs) making AIDS a problem of poor people like Africans rather proved his point.
*4 I refer you to the site: https://dokumen.pub/angelic-echoes-he... which, unfortunately, as of January 2025 is 'down' undergoing maintenance but the following information does appear on google in its direction, 'For example, Yannis is based on the Spanish painter Miquel Barcelo; Guibert visited him in Majorca, not Corfu; thirty-five counterfeit paintings really were ...'. That significance of 'thirty-five counterfeit paintings' will only be apparent if you read Guibert's novel and makes me hope the site will be up again soon.
I decided recently that the time had come to read Guibert and settled on this novel, his penultimate book and published after its death, because I didn't want to read 'To the Friend Who Did Not Save My Life' or 'The Compassion Protocol' the best known of Guibert's works available in English (please see my footnote *2 below). The reason was my inability, currently, to read almost any of the literature of the AIDS era and these two works by Guibert's are seminal 'European' AIDS texts (please see my footnote *3 below). Those novels, like so much AIDS writing are, for me, trapped in the particularities of their time. I find it hard to separate literature from reportage of the historical record. I don't believe in 'disease' as a metaphor and it is certainly not as a 'muse' as one fatuous New Yorker writer described Guibert 'relationship' to AIDS. Historically aside from some 'dance macabre' paintings what did the Black Death bring to Art? The 'Spanish Flu' killed more people and disrupted more lives than WWI yet produced nothing in art or literature and despite their number I don't see any of the COVID novels lasting a decade never mind a generation. Again I would refer to the link in my footnote *1.
'The Man in the Red Hat' is, sort of, a companion piece to 'The Friend Who Did Save My Life' and 'The Compassion Protocol' (though unlike those novels which, even before recent republication, were relatively easy to find second hand 'The Man in the Red Hat' is currently an almost impossible to acquire the novel, at least in English. As of January 2025 there are still no copies, in English, on any bookseller or book selling site that I can find. It is also the most expensive 110 pages of text I have ever bought). But unlike them it is not about the treatment of, living with or dying of AIDS. It is a work of 'Autofiction' so the narrator has AIDS but his having AIDS is not any part of the story except in terms of practical logistics involving living and travelling. The novel is about:
"(an author who) throws himself headlong into the search, bargaining and acquisition of paintings.
(and) find(s) himself swept up...in a double story of forgery, of which the Greek painter Yannis is the victim, and of the kidnapping of an Armenian expert, Vigo, who was...denouncing...forgeries in the major sales at Sotheby's or Christie's in London or New York...Two couples haunt this new book: the painter Yannis and his wife Gertrud, whom the writer will pursue to Corfu, the art dealer Vigo and his sister Lena, with whom Guibert will go to Moscow...Because this "man in the red hat" is also a hunter of painters. For fifteen years, he has been chasing Bacon and Balthus, all the way to Switzerland and Venice; to wrest what secrets from them?"
Like all Guibert's work, and indeed much serious French literature, it is very brief (barely 110 pages) there isn't really time to get bored or dissatisfied with this novel. Indeed although the 'storylines' involving the artist Yannis (of which more later) and Lena are the main 'narrative' the parts dealing with Guibert's interactions with the painters Francis Bacon and Balthus, particularly Balthus, are the most compelling. But equally they pose the problem I have with the entire 'Autofiction' genre:
"An autofiction is a work of truth; the author is not hiding behind an invented character, she/he is that character. The character’s spiritual and philosophical quest is the author’s own; the “I” of the narrative is the author, recreating the world according to his or her own experience. She/he delivers the truth, without altering or falsifying the facts, as if putting together a police report..."
said French author Nina Bouraoui in an article in the Guardian newspaper in 2020 (see: https://www.theguardian.com/books/202...). So how true are the 'facts' in 'The Man in the Red Hat'? Did Balthus really provide Guibert the information on the fates of the famous Blanchard children in his most, currently, controversial paintings? and what of the Greek painter 'Yannis' who most, thanks to 'Skyland' by Andrew Durbin, people seem to think was the painter Yannis Tsarouchis but is in fact the Spanish painter Miquel Barcelo (see my footnote *4 below).
[The fact that Miquel Barcelo remained so long hidden behind the nome de plume Yannis while Michael Foucault was so readily revealed to be 'Muzil' in 'The Friend Who Did Not Save My Life' suggests that it was less a case of Guibert 'betraying' confidences of Foucault as providing the excuse for others to spill secrets they had long wanted to about Foucault.]
Guibert, and probably other self-identifying, practitioners of Autofiction never claims that he "...delivers the truth, without altering or falsifying the facts, as if putting together a police report..."
so how do you review a novel that can be both 'true' and fiction? If someone describes something that is a 'real' experience (and I do realise how problematic my terminology is) it can only be said to be well or badly told. It is not possible to say it is absurdly improbable, a cliche, overwrought, sentimental, etc. How you criticise fiction is different to how you critique a memoir. By confusing the two Autofiction, for me, is a case of having your cake and eating it.
I enjoyed 'The Man in the Red Hat' and I will read more of Guibert's works but not the previous volumes in this 'trilogy'. I don't regret it but would not recommend anyone else pay the circa $75.00 I spent on the novel. There are plenty of other books out there that are more worth buying. What I think of Guibert will probably not become clear until I read the two other works of his I have on order 'My Vincent' and 'Written in Invisible Ink'. For the moment I give this novel three stars because I am undecided.
*1 I do realise that the difference between the way writers like Guibert and Wojnarowicz are presented, particularly in English language media, and what they actually were is immense. In the case of David Wojnarowitz I would recommend the following interview with Dennis Cooper who has some very interesting and insightful things to say about Wojnarowitz and many other things:
http://www.novembermag.com/content/de....
*2 It is difficult to talk about any of Guibert's work in isolation from his most notorious work 'the Friend Who Did Not Save My Life' and I would recommend reading the following from Dennis Cooper's blog: https://denniscooperblog.com/spotligh.... If it appears I am revealing a predilection for the opinions of Dennis Cooper that is correct. Cooper is not only a great fiction writer but a brilliant commentator on literature.
*3 'The Friend Who Did Not Save My Life' was savagely attacked by NYC Act-Up (and by its French wing under Didier Lestrade see https://medicalhealthhumanities.com/2...) but I always agreed with Gore Vidal that American Act-Ups insistence on building their fight around a 'Gay' identity was failing to see the broader systemic issues regarding access to health care in the USA. That Act-Up disappeared once effective AIDS related treatments became available for those who were the majority of Act-Up members (younger, white, professional middle class gay men who could afford the new drugs) making AIDS a problem of poor people like Africans rather proved his point.
*4 I refer you to the site: https://dokumen.pub/angelic-echoes-he... which, unfortunately, as of January 2025 is 'down' undergoing maintenance but the following information does appear on google in its direction, 'For example, Yannis is based on the Spanish painter Miquel Barcelo; Guibert visited him in Majorca, not Corfu; thirty-five counterfeit paintings really were ...'. That significance of 'thirty-five counterfeit paintings' will only be apparent if you read Guibert's novel and makes me hope the site will be up again soon.
July 27, 2020
3.5 stars
March 16, 2025
C'est incroyable que le dernier livre de la trilogie du sida soit un roman où le propre virus n'est qu'un fantôme, une présence qui se mêle et s'efface avec le récit de Guibert, qui veut explorer comme acheteur ou vendeur, les péripéties de la vente des peintres, et avec ça, peut être, essayer de rester un peu plus de temps vivante, en mouvement.
April 14, 2021
4/5 étoiles
Une oeuvre intriguante sur le vrai, le faux, le corps et l'art.
Une oeuvre intriguante sur le vrai, le faux, le corps et l'art.
December 29, 2025
Quel plaisir, mais aussi quelle tristesse de suivre Hervé dans ses derniers voyages.
Displaying 1 - 6 of 6 reviews