Jean Frémon 1946–
paris, france
A
n accomplished poet, novelist, art critic, and essayist, Frémon explores
the meaning of lists, collections, and definitions in his writings. He has
written numerous essays on contemporary artists. Currently, he directsthe Galerie Lelong in Paris, a contemporary gallery representing artists such as Joan
Miró and Andy Goldsworthy. Principal works: Le Miroir, les alouettes, 1969; L’Ori-
gine des légendes, 1972; Ce qui n’a pas de visage, 1976; Échéance, 1983; Le Jardin
botanique, 1989; Éclipses, 1990; Silhouettes, 1991; La Vraie Nature des ombres, 2000.
Autumn
The Shogun, always on the lookout for ways to increase his glory, decided to
hold a grand painting competition at the Palace. ‘‘Stimulate rivalry, incite con-
frontation,’’ he thought. ‘‘In short, pit them all against each other in an e√ort to
please me. News of such a competition, if it’s a good one, will spread far beyond
our borders, and all the other kings will be jealous.’’
So announcements were sent to the most distant villages, the most remote
monasteries, and even to the huts of hermits. Every painter-poet in the kingdom
was required to present himself on the West Terrace on the twenty-sixth day of
the fourth moon. The edict demanded that each bring his own materials, includ-
ing a roll of paper or silk, various brushes, ink sticks and inkstones, and register
with the lieutenant of the guard upon arrival. When his name was called, each
would then improvise a painting on the spot, before the sovereign, the high
ministers and the judges, following it with a poem inspired by the painting,
constituting either its commentary or its title. The painters could choose either
to create their own poems or to select something from the standing body of
literature. In order to ensure true improvisation and thus enable a clear choice of
victor, it was decided that the theme of the works would be disclosed only at the
last minute.
Each painter had his own way of preparing for the contest. One sat on his
heels and minutely observed the mountain in front of his cabin, determining the
precise location of the springs, memorizing the echos of the waterfalls, noting the
uncanny way the clouds enveloped the summit just before dawn, the exact color
of the rock faces left exposed to the sun. He studied the precise shapes of empti-