User:Marine PITOEFF/sandbox

ALBERT EDOUARD GILOU was an authority in art, and an art collector, as well as founding Art Director of the magazine Connaissance des Arts", from 1950 until his demise, in 1961. He also took up the Art Direction of the magazine Realités'' from 1950 to 1961. In both magazines he wrote around a hundred and fifty articles on art, its people, its cycles, its styles, its metaphysics. He also gave conferences throughout Europe, and courses in the history of art to young students. Known generally as "Bertie", Albert Gilou was the descendant on both sides of art collectors and patrons of repute : on his mother's side, Charles Sedelmeyer (1837-1925), great art dealer and expert in painting — notably on Rembrandt and Dutch and Flemish painters and, on his father's side, Louise Gilou (also named Gillou), a discoverer, collector and patron of impressionnist artists — notably Edouard Vuillard. Louise Nelly Gilou received weekly, in her Paris home, writers, poets, muscians and artists, in an open "Salon", as it was the custom at the end of the 19th century and in the first half of the 20th century.

Albert Gilou's father, Pierre Gillou, alias Gilou (1880-1953), was, from 1926 to 1953, successively the Captain of the famous "Four Musketeers" team of the French Tennis Federation, five times winner of the Davis cup between 1927 and 1932, President of the French Federation of Tennis (FFT), President of the Racing Club de France, President of the National Commission for Physical Education and Sport. Hence, since childhood, Albert Gilou was raised in a highly educated environment, and learned to sharpen his artistic discrimination thanks to the lessons of his elders. He was also taught music and piano. He used to spend his school holidays with his great-grandfather Charles Sedelmeyer in the latter's Renaissance Château d'Ambleville, in Normandy, and by his side, received his first deep and vivid impressions of masterpieces produced by such painters as Rembrandt or Vermeer.

In 1939, he graduated in Architecture at the Paris École des Beaux-Arts (2 medals in drawing and sculpture modelling).

During World War II, he was a Naval Officer, and, from 1940, joined the General de Gaulle and the "France Libre", first on a staff mission and, in 1942, enlisted in the FNFL (Flotte Nationale de la France Libre, the French Resistance Navy) where he became Officer Interpreter for the Cipher Services (0RIC).

In 1945, Pierre Lazareff (1907-1972)11, emblematic figure of THE VOICE OF AMERICA in Europe (ABSIE : American Broadcasting System in Europe) during World War II, and since 1944 Chief Editor of the daily France-Soir, decided to foster the creation of a new type of monthly news magazine conceived by Didier Rémond (b.1922) and Robert Salmon (1918-2013), a great figure of the French Resistance, Chairman and CEO of the press group FEP (France Editions et Publications). To them, Lazareff introduced Alfred Max (1913-1990), a socio-economist and journalist co-founder of France's first Institute of Public Opinion, IFOP (Institut Français d'Opinion Publique) in 1938.

Lazareff introduced also Albert Gilou, whom he had met in London in 1940, and appreciated for his knowledge of the world of art and its people, his wit, and clarity of mind and expression. Thus was formed the managing team who gave life to the magazine Réalités, its first issue dated February 1946. After collaborating regularly to the magazine as art counsellor and critic, Albert Gilou accepted the position of Art Director of Réalités, in 1950. Under him and Alfred Max as Managing Editor, the magazine gained a large repute thanks to revolutionary approaches in journalistic investigations, a major emphasis on high quality photography and a boldly modern layout.

Albert Gilou considered photography as an art in its own right and hired photographers as Edouard Boubat, Henri Cartier-Bresson, Robert Capa, David Seymour, Werner Bischof, Bruce Davidson, Dennis Stock, Eugene Smith, Robert Doisneau, Brassaï, Manuel Alvarez Bravo, William Klein, Irving Penn, Richard Avedon…

In 1950 also, was launched an English edition, and one for the United States, 'Realities in America' (1950–1974), the two editions supervised by Axel Tourmente in New York (301 Madison Ave), and Garith Windsor (1911-1991), in London.

In 1951, Pierre Lazareff and Robert Salmon decided to foster Albert Gilou's project of creating of a monthly magazine on art. The magazine's initial name of Connaisseur des Arts, was changed for Connaissance des Arts in 1952. Francis Spar was its Managing Editor, and Albert Gilou, its Art Director.

Under Albert Gilou's supervision, Connaissance des Arts adhered to the essential notion of quality in Art and Architecture, in every civilization, at any time, whether archaïc, classic of modern, sophisticated or naive. All aspects of art were dealt with, including its approaches through sociology, philosophy, spirituality and metaphysics. As in Réalités, Albert Gilou emphasised high quality photography, initiated investigations, and offered pages to artists, writers and thinkers to express freely their vues. Albert Gilou also conceived and directed Réalités ' collection of important reference books on art, richly illustrated, and published by Arthaud and Hachette, France, such as LES MERVEILLES DE LA MÉDITERRANÉE, in 1958, with Bernard Berenson, the famous American Art Historian and Expert, and André Parrot, the great Archaeologist, as special counsellors and authors, and photographs by Roloff Beny, on special appointment ; LES MERVEILLES DU LOUVRE in two volumes, 1958 and 1959, with Jean Charbonneaux, Chief Curator of the Musée du Louvre, as special counsellor and author of the preface ; L'ITALIE ET SES MERVEILLES, in 1960.

Eager to help the young generations to open their mind to the quest of beauty through art, and to turn without precondition or prejudice towards the art expressions from all civilizations, Albert Gilou always responded favourably to invitations to give conferences or to lead workshops on art. In this line, he started giving lectures and courses at the Institut Supérieur des Beaux-Arts of Besançon (Doubs, France) in 1958.

Incessantly active, Albert Gilou was also, since teenage, an enthusiast art collector who, according to his own words, was keen in his search for the "true man within the work of art". His analysis of art works was so subtle and sharp, that art specialists as well as antique dealers used to nickname him "l'oeil" (the eye).

During the last years of his life, he oriented his taste, and therefore his collection, towards spirituality in art, and its manifold expressions : Chinese painting and sculpture, Japanese zen portraits, Persian paintings, Christian Bysantine and Mosan art, archaïc Greek sculpture...

In 1960, the French Ministry of Culture encouraged Albert Gilou's project to establish a new inventory of France's religious architecture and art, in every nook and corner of the country. . Unfortunately Albert Gilou's demise put an end to this ambitious and beautiful project. Contemporary testimonial : In the realm of art, he had an expert's eye, and his views were authority in the antiques' art market, not only in Paris, but also accross all Western Europe. Yet, for him, art was not a mere entertainment. Very alert and sensitive in all matters pointing to the meaning of human destiny, he felt at heart the metaphysical anguishes of our time. He attempted to lead his contemporaries, and especially the young people, into the discovery that Art may be the expression of a higher réality where the human being gets reunited with himself, and thereby, through beauty, becomes able to reach sacred spheres.

In this perspective, apart from his activities as a journalist, he devoted his free time in delivering conferences — including at the Beaux-Arts Institute of Besançon — to initiate youngsters into the History of Art, the world of artistic creation, and the role of art in our lives.

Open to all aspects of life and caring for his fellow-man, he had become a focal point for many artists, writers, religious thinkers, whom he led with a stunning skill into a process of Socratic enquiry about themselves.

As a matter of fact, the reason of Albert Gilou's gift to enrich the experience of others lied in his ability to listen to them, and to understand and help them solve their problems.(...)

Albert Gilou was a fundamentally generous human being who won the hearts of his fellow-men because he loved them.

- Albert Gilou's widow, still living, is Miriam Gilou-Cendrars, the daughter and biographer of the writer and poet Blaise Cendrars.

Albert and Miriam Gilou's three children are :

Marine Gilou-Pitoëff (b. 1946), cultural anthropologist and specialist of South Indian traditional artforms.

Thomas Gilou (b. 1955), film director.

Jean-Baptiste Gilou (b. 1957), publisher (Editions Hugo, Editions La Sirène).

ALBERT EDOUARD GILOU was an authority in art, and an art collector, as well as founding Art Director of the magazine Connaissance des Arts", from 1950 until his demise, in 1961. [1] He also took up the Art Direction of the magazine Realités from 1950 to 1961. [2] In both magazines he wrote around a hundred and fifty articles on art, its people, its cycles, its styles, its metaphysics. He also gave conferences throughout Europe, and courses in the history of art to young students.[3]

Known generally as "Bertie", Albert Gilou was the descendant on both sides of art collectors and patrons of repute : on his mother's side, Charles Sedelmeyer (1837-1925) [4], great art dealer and expert in painting — notably on Rembrandt and Dutch and Flemish painters [5] and, on his father's side, Louise Gilou (also named Gillou), a discoverer, collector and patron of impressionnist artists — notably Edouard Vuillard. [6]

Louise Nelly Gilou received weekly, in her Paris home, writers, poets, muscians and artists, in an open "Salon", as it was the custom at the end of the 19th century and in the first half of the 20th century.

Albert Gilou's father, Pierre Gillou, alias Gilou (1880-1953), was, from 1926 to 1953, successively the Captain of the famous "Four Musketeers" team of the French Tennis Federation, five times winner of the Davis cup between 1927 and 1932, President of the French Federation of Tennis (FFT), President of the Racing Club de France, President of the National Commission for Physical Education and Sport. [7]

Hence, since childhood, Albert Gilou was raised in a highly educated environment, and learned to sharpen his artistic discrimination thanks to the lessons of his elders. He was also taught music and piano. He used to spend his school holidays with his great-grandfather Charles Sedelmeyer in the latter's Renaissance Château d'Ambleville [8], in Normandy, and by his side, received his first deep and vivid impressions of masterpieces produced by such painters as Rembrandt or Vermeer.

In 1939, he graduated in Architecture at the Paris École des Beaux-Arts (2 medals in drawing and sculpture modelling).[9]

During World War II, he was a Naval Officer, and, from 1940, joined the General de Gaulle and the "France Libre", first on a staff mission and, in 1942, enlisted in the FNFL (Flotte Nationale de la France Libre, the French Resistance Navy) where he became Officer Interpreter for the Cipher Services (0RIC). [10]

In 1945, Pierre Lazareff (1907-1972)11 [11], emblematic figure of THE VOICE OF AMERICA in Europe (ABSIE : American Broadcasting System in Europe) during World War II, and since 1944 Chief Editor of the daily France-Soir, decided to foster the creation of a new type of monthly news magazine conceived by Didier Rémond (b.1922) and Robert Salmon (1918-2013), a great figure of the French Resistance, Chairman and CEO of the press group FEP (France Editions et Publications). To them, Lazareff introduced Alfred Max (1913-1990) [12], a socio-economist and journalist co-founder of France's first Institute of Public Opinion, IFOP (Institut Français d'Opinion Publique) in 1938.

Lazareff introduced also Albert Gilou, whom he had met in London in 1940, and appreciated for his knowledge of the world of art and its people, his wit, and clarity of mind and expression. Thus was formed the managing team who gave life to the magazine Réalités, its first issue dated February 1946. After collaborating regularly to the magazine as art counsellor and critic, Albert Gilou accepted the position of Art Director of Réalités, in 1950. Under him and Alfred Max as Managing Editor, the magazine gained a large repute thanks to revolutionary approaches in journalistic investigations, a major emphasis on high quality photography and a boldly modern layout.

Albert Gilou considered photography as an art in its own right and hired photographers as Edouard Boubat, Henri Cartier-Bresson, Robert Capa, David Seymour, Werner Bischof, Bruce Davidson, Dennis Stock, Eugene Smith, Robert Doisneau, Brassaï, Manuel Alvarez Bravo, William Klein, Irving Penn, Richard Avedon… [13]

In 1950 also, was launched an English edition, and one for the United States, 'Realities in America' (1950–1974), the two editions supervised by Axel Tourmente in New York (301 Madison Ave), and Garith Windsor (1911-1991), in London.

In 1951, Pierre Lazareff and Robert Salmon decided to foster Albert Gilou's project of creating of a monthly magazine on art. The magazine's initial name of Connaisseur des Arts, was changed for Connaissance des Arts in 1952.[14] Francis Spar was its Managing Editor, and Albert Gilou, its Art Director.

Under Albert Gilou's supervision, Connaissance des Arts adhered to the essential notion of quality in Art and Architecture, in every civilization, at any time, whether archaïc, classic of modern, sophisticated or naive. All aspects of art were dealt with, including its approaches through sociology, philosophy, spirituality and metaphysics. As in Réalités, Albert Gilou emphasised high quality photography, initiated investigations, and offered pages to artists, writers and thinkers to express freely their vues.

Albert Gilou also conceived and directed Réalités ' collection of important reference books on art, richly illustrated, and published by Arthaud and Hachette, France, such as LES MERVEILLES DE LA MÉDITERRANÉE, in 1958, with Bernard Berenson, the famous American Art Historian and Expert, and André Parrot, the great Archaeologist, as special counsellors and authors, and photographs by Roloff Beny, on special appointment ; LES MERVEILLES DU LOUVRE in two volumes, 1958 and 1959, with Jean Charbonneaux, Chief Curator of the Musée du Louvre, as special counsellor and author of the preface ; L'ITALIE ET SES MERVEILLES, in 1960. [15]

Eager to help the young generations to open their mind to the quest of beauty through art, and to turn without precondition or prejudice towards the art expressions from all civilizations, Albert Gilou always responded favourably to invitations to give conferences or to lead workshops on art. In this line, he started giving lectures and courses at the Institut Supérieur des Beaux-Arts of Besançon (Doubs, France) in 1958.

Incessantly active, Albert Gilou was also, since teenage, an enthusiast art collector who, according to his own words, was keen in his search for the "true man within the work of art". His analysis of art works was so subtle and sharp, that art specialists as well as antique dealers used to nickname him "l'oeil" (the eye).

During the last years of his life, he oriented his taste, and therefore his collection, towards spirituality in art, and its manifold expressions : Chinese painting and sculpture, Japanese zen portraits, Persian paintings, Christian Bysantine and Mosan art, archaïc Greek sculpture...

In 1960, the French Ministry of Culture encouraged Albert Gilou's project to establish a new inventory of France's religious architecture and art, in every nook and corner of the country. [16]. Unfortunately Albert Gilou's demise put an end to this ambitious and beautiful project.

Contemporary testimonial : In the realm of art, he had an expert's eye, and his views were authority in the antiques' art market, not only in Paris, but also accross all Western Europe. Yet, for him, art was not a mere entertainment. Very alert and sensitive in all matters pointing to the meaning of human destiny, he felt at heart the metaphysical anguishes of our time. He attempted to lead his contemporaries, and especially the young people, into the discovery that Art may be the expression of a higher réality where the human being gets reunited with himself, and thereby, through beauty, becomes able to reach sacred spheres.

In this perspective, apart from his activities as a journalist, he devoted his free time in delivering conferences — including at the Beaux-Arts Institute of Besançon — to initiate youngsters into the History of Art, the world of artistic creation, and the role of art in our lives.

Open to all aspects of life and caring for his fellow-man, he had become a focal point for many artists, writers, religious thinkers, whom he led with a stunning skill into a process of Socratic enquiry about themselves.

As a matter of fact, the reason of Albert Gilou's gift to enrich the experience of others lied in his ability to listen to them, and to understand and help them solve their problems.(...)

Albert Gilou was a fundamentally generous human being who won the hearts of his fellow-men because he loved them. [17]

Albert Gilou's widow, still living, is Miriam Gilou-Cendrars, the daughter and biographer of the writer and poet Blaise Cendrars.

Albert and Miriam Gilou's three children are :

Marine Gilou-Pitoëff (b. 1946), cultural anthropologist and specialist of South Indian traditional artforms.

Thomas Gilou (b. 1955), film director.

Jean-Baptiste Gilou (b. 1957), publisher (Editions Hugo, Editions La Sirène).

Jump up ^ - Anne de Mondenard & Michel Guerrin, RÉALITÉS, UN MENSUEL FRANÇAIS ILLUSTRÉ (1946-1978) - Publisher : ACTES SUD / MAISON EUROPÉENNE DE LA PHOTOGRAPHIE, PARIS, 2008, ISBN 978-2-7427-7221-6; pp. 20, 60, 74 - Yves Courrière, PIERRE LAZAREFF, a Biography - Publisher : GALLIMARD, PARIS, 1995, ISBN 2-07-073030-1; pp 468-469, 523, 690. - Sophie Delassein, "LES DIMANCHES DE LOUVECIENNES CHEZ HÉLÈNE ET PIERRE LAZAREFF" - Publisher : GRASSET, PARIS, 2009, ISBN 978-2-246-70711-0; p 123. Jump up ^ Brian A. McKenzie REMAKING FRANCE: AMERICANIZATION, PUBLIC DIPLOMACY, AND THE MARSHALL PLAN ; Berghahn Books New York - Oxford, ©2005,2008 Brian A. McKenzie. ISBN 1-84545-154-6 ; pp 212-215 - Anne de Mondenard & Michel Guerrin, RÉALITÉS, UN MENSUEL FRANÇAIS ILLUSTRÉ (1946-1978) - Publisher : ACTES SUD / MAISON EUROPÉENNE DE LA PHOTOGRAPHIE, PARIS, 2008, ISBN 978-2-7427-7221-6; pp 17, 59-60. - ECOLE SUPÉRIEURE DE JOURNALISME, LILLE (FRANCE), ARCHIVES DOCUMENTATION ET PRESSE - RÉALITÉS ET CONNAISSANCE DES ARTS. http://docpresse.esj-lille.fr/2014/04/23/realites/ - WIKIPEDIA THE FREE ENCYCLOPEDIA : https://en.wikipedia.org/wiki/R%C3%A9alit%C3%A9s_%28French_magazine%29 [1] Jump up ^ Notably at the INSTITUT DES BEAUX-ARTS of Besançon (Doubs), France, from 1958 to 1961. Jump up ^ " For novelists and playwrights such as Emile Zola, Guy de Maupassant, and Frank Wedekind, revolutionary marketing strategies and the emergence of a new type of art dealer in late 19th-century Paris were synonymous with a single, well-recognized figure; a figure whose significance has nevertheless been utterly neglected in modernist histories of art: Charles Sedelmeyer." Christian Huemer in CHARLES SEDELMEYER’S THEATRICALITY: ART AND SPECULATION IN LATE 19th–CENTURY PARIS, in Ján Bakoš (ed.) Artwork through the Market: The Past and the Present, Bratislava: Slowakische Academy of Sciences 2004, pp. 109–124.- "Charles Sedelmeyer (1837-1925)... owned a gallery in the elegant rue de la Rochefoucauld from whose luxurious quarters he oversaw a veritable art industry. Buying and selling Old Masters paintings; pubishing lavish books, prints, and catalogues; holding auctions; and arranging exhibitions of the work of living artists were all part of this enterprise, whose proprietor acquired a formidable reputation for exquisite taste, professionalism, and exorbitant prices." Linda Wolk-Simon in RAPHAEL AT THE METROPOLITAN: THE COLONNA ALTARPIECE, THE METROPOLITAN MUSEUM OF ART, NEW YORK, YALE UNIVERSITY PRESS, NEW HAVEN, 2006. ISBN: 9780300117905; p 53. - https://en.wikipedia.org/wiki/Charles_Sedelmeyer Jump up ^ COLLECTION OF DUTCH AND FLEMISH PAINTINGS BY OLD MASTERS, OWNED BY MR CHARLES SEDELMEYER AND IMPORTED BY HIM FOR LOAN TO THE METROPOLITAN MUSEUM OF ART, BY INVITATION OF THE TRUSTEES - 1886-1887 - Watson Library, Metropolitan Museum of Art, New York City, NY. http://libmma.contentdm.oclc.org/cdm/singleitem/collection/p15324coll10/id/2296/rec/1 Jump up ^ Catalogue note on the impressionist painting by Edouard Vuillard (1868-1940), entitled MADAME GILLOU CHEZ ELLE (L'ACCORD PARFAIT). Sotheby's Impressionist & Modern Art Evening Sale, 03 May 2011, New York City - Lot 38. "Vuillard's luminous depiction of his patron in her salon exemplifies the commissions to which the artist devoted most of his time in the 1930s. Mme Louise Gillou, at whose request the artist painted this work in 1932-33, was a formidable woman with a rich collection of 19th century pictures which she acquired from the dealer, Jos Hessel. In his monograph of Vuillard's work, André Salomon provides the following characterization of the sitter and her environs, which Vuillard has so beautifully captured in his picture: "She... was feared for her wit and plain speaking. She was obviously proud of her collection of paintings, sold to her by Hessel. Corots, Renoirs and Forains jostled together on the walls, each one 'murdered' by a spotlight" (A. Salomon, op. cit., p. 178)." Sitting in the centre is Mme Louise Gillou's daughter, Mrs Kate Gillou Fenwick, a tennis champion, and, standing in the background, Reynaldo Hahn (1874-1947), conductor, composer and musical critic, very close friend of the writer Marcel Proust, and who became the director of the Paris Opera in 1945. http://www.sothebys.com/en/auctions/ecatalogue/2011/impressionist-modern-art-evening-sale-n08741/lot.38.html Jump up ^ SHORT BIOGRAPHY : https://fr.wikipedia.org/wiki/Pierre_Gillou PIERRE GILOU PRESIDENT of RCF: http://www.so-tennis.fr/lheritage-des-mousquetaires/ ON THE DAVIS CUP 1928-1932 : http://www.chansons-net.com/tennis/defense/def-13-01.html HISTORY OF FRENCH TENNIS : http://www.fft.fr/en/missions http://www.tennis-histoire.com/tournois/stade-roland-garros.html ART DONATION OF PIERRE GILOU : ARTCURIAL, PARIS, VENTES DE PRESTIGE D’ART MODERNE 23 & 24 October 2008 : "An exceptional painting by Jacques-Emile Blanche (1861-1942), Lawn tennis, 1882, probably his masterpiece, which he kept for 50 years before offering it to Pierre Gilou, President of the French National Tennis Federation (FFT), who, in turn donated it to the Racing Club of France in 1946." http://www.artcurial.com/pdf/presse/2008/dp_art_moderne_octobre_2008.pdf Jump up ^ HISTORY OF THE CHÂTEAU D'AMBLEVILLE : "In 1893, Charles Sedelmeyer bought the château d'Ambleville which was in a very deteriorated condition. Sedelmeyer restored it at great expense, reinstalled fireplaces, venitian balconies, ceilings..." http://www.chateauxetjardins.com/pagesIntro/PageHistChateauAmbleville.html https://fr.wikipedia.org/wiki/Château_d%27Ambleville Jump up ^ NATIONAL FRENCH ARCHIVES Archives nationales [AJ/52/544] - Dictionnaire des élèves architectes de l’École des beaux-arts (1800-1968) - INHA (National Archives of Art History) - - INHA__MUS_PERSONNE__85830. http://www.purl.org/inha/agorha/002/85830 Jump up ^ FRENCH MINISTRY OF DEFENCE - SERVICE HISTORIQUE DU MINISTERE DE LA DEFENSE / CENTRE HISTORIQUE DES ARCHIVES, VINCENNES : SHDGR_16P_G.pdf, page 380, Cote: GR 16 P 256163 ALAMER ARCHIVES NATIONALES - ALBERT GILOU: http://alamer.fr/index.php?NIUpage=31&Param1=25999. http://www.france-libre.net/wp-content/uploads/2008/11/Liste-des-marins-FNFL-avril-2015.pdf - page 226 http://www.francaislibres.net/liste/fiche.php?index=71027 Jump up ^ Biographies of Pierre Lazareff : Jean-Claude Lamy, PIERRE LAZAREFF À LA UNE - Publisher: STOCK, PARIS, 2001, ISBN 978-2234000797 Yves Courrière, PIERRE LAZAREFF, a Biography - Publisher : GALLIMARD, PARIS, 1995, ISBN 2-07-073030-1. Robert Soulé, LAZAREFF ET SES HOMMES - Pubisher ; GRASSET, PARIS, 1992. ISBN 978-2246462118 Jump up ^ On Alfred Max : - BNF, NATIONAL LIBRARY OF FRANCE [2] ISNI : 0000 0000 7829 6236 - Anne de Mondenard & Michel Guerrin, op. cit. pp 17. - "Alfred Max est le fondateur, avec Jean Stoetzel, professeur de sciences sociales à l’université de Bordeaux, de l'Institut Français d'Opinion Publique (IFOP) en décembre 1938. Il préside l’IFOP après 1979 jusqu'en 1990." Claude Dargent, SOCIOLOGIE DES OPINIONS, Armand Collin publishers, 2011, - ISBN 978-2-200-27578-5 - "Journaliste, Alfred Max est diplômé de l'École des Sciences Politiques et d'Universités américaines. Ancien secrétaire d'une mission de la Société des Nations auprès de Chiang Kai-Chek (1932-33), en Chine, ancien pilote des Forces Aériennes libres, Diplômé de l'École des Sciences Politiques et de l'Université de Washington aux USA . Il a été directeur de plusieurs grands magazines et un élu local." http://www.babelio.com/auteur/Alfred-Max/132023 REFERENCES ONLINE for Alfred Max: http://www.idref.fr/027019500 Jump up ^ On Albert Gilou's choices and perspectives as Art Director of Réalités, see Anne de Mondenard & Michel Guerrin, RÉALITÉS, UN MENSUEL FRANÇAIS ILLUSTRÉ (1946-1978) - Publisher : ACTES SUD / MAISON EUROPÉENNE DE LA PHOTOGRAPHIE, PARIS, 2008, ISBN 978-2-7427-7221-6; notably pp 71, 97, 106-107. See INDEX OF PHOTOGRAPHERS PUBLISHED IN REALITES MAGAZINE from February 1946 to December 1964, in : Anne de Mondenard & Michel Guerrin, op. cit. pp 152-158. Jump up ^ Alfred Max, 30 ANS D'INITIATIVES & D'AFFRONTEMENTS EN LISIÈRE DE L'HISTOIRE: sondages, presse, politique locale. pp 95-105. Publisher : ÉDITIONS D'AUJOURD'HUI. Plan de la Tour (Var, France), 1988. Id BNF : FRBNF119153000 & FRBNF121173750 Id ARK : http://catalogue.bnf.fr/ark:/12148/cb119153003 & http://catalogue.bnf.fr/ark:/12148/cb121173757 Id ISNI : 0000000078296236 Jump up ^ LES MERVEILLES DE LA MÉDITERRANÉE, ARTAUD publishers, PARIS, 1958, with Bernard Berenson* and André Parrot* as special counsellors and authors, and photographs by Roloff Beny, on special appointment. LES MERVEILLES DU LOUVRE in two volumes, HACHETTE & SEPE Publishers, PARIS,1958 and 1959, with Jean Charbonneaux*, Chief Curator of the Musée du Louvre, as special counsellor and author of the preface. L'ITALIE ET SES MERVEILLES, HACHETTE & SEPE Publishers, PARIS, 1960. Jump up ^ cf order of mission, family archives Jump up ^ Collective tribute by Alfred Max, Danielle Hunebelle, Muriel Reed, Edouard Boubat, Jean-Philippe Charbonnier - Réalités, August 1961, page 5.