Scope and Contents Nadau wrote the Sackners that this work was made between Winter 2001 and Summer 2002 - about 8 months. He planned the work on several pieces of paper taped together. The word Adiabatique in one of the sentences of the drawing is a thermodynamic term. It was used for the title of a painting done with a donkey's tail prompted by Picasso and friends. The original title of the painting was "Coucher de Soliel sur L'Adiabatique; Nadau modified this to "Coucher de Lunettes sur Une Ame Adiabetique." Nadau adds that he never signs or dates his work. The following review is translated from a French newspaper: They are Eighteen draftsmen of today, very different one from the other, but all marked by Surrealism and Art Brut. The exhibition is called "Pointed (Sharp?) Drawings." It was put in place in one week, at the end of the month of August, to replace another exhibition that was scheduled and defaulted at the last moment. [The review opens with a discussion of Nadau's drawing "Paris Big...

Scope and Contents

The diagram depicts the layout for the drawing -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a densely packed visual novel related to a crime. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of reproductions of Nadau's drawings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This card accompanied the gift of nine small ink drawings to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Camille Clovis Trouille, was born on 24 October 1889, in La Fère, France. He worked as a restorer and decorator of department store mannequins, but is remembered as a Sunday painter who trained at the Ecole des Beaux-Arts of Amiens from 1905 to 1910. He died on 24 September 1975 in Paris. His service in World War I gave him a lifelong hatred of the military, expressed in his first major painting Remembrance (1931). The painting depicts a pair of wraith-like soldiers clutching white rabbits, an airborne female contortionist throwing a handful of medals, and the whole scene being blessed by a cross-dressing cardinal. This contempt for the Church as a corrupt institution provided Trouille with the inspiration for decades of pictorial blasphemies: Dialogue at the Carmel (1944) shows a skull wearing a crown of thorns being used as an ornament. The Mummy shows a mummified woman coming to life as a result of a shaft of light falling on a large bust of Andre Breton. The Magician (1944) has...